Humanist Adobe Jenson Composition Look Traditional Or Elizabethan

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TYPEFACE CATEGORY SPECIMENS WHERE TO USE

Use when you want to make your Humanist Adobe Jenson composition look traditional or Elizabethan. 1470s – 1590s Centaur Humanist fonts can sometimes have • slanted stroke axis an unintended rusticism to them as • slanted bar on lower-case e (above set in Adobe Jenson) well, due to the slanted axes and • heavy weight and color heavy color.

Evokes the Baroque or Neoclassicist Old Style Roman Garamond periods 1530s – 1750s Caslon Use an Old Style, particularly Caslon, if you want to create something • contrast between thicks and thins patriotic, classic, and gently authori- • medium weight and color Bembo tative. • capitals shorter than ascenders (above set in Cormorant Garamond)

If you want your design to look Transitional Baskerville mechanical, but still elegant, then 1698 – 1790s transitional faces are the way to go. Georgia They may have less personality than their forefathers, but they fill an • vertical axis important need: they are unoffensive • horizontal foot serifs (above set in Baskerville URW) and effective, while still conveying a • bracketed serifs sense of class.

Today Moderns are associatedpage most 1 of 2 Modern Roman Didot closely with the fashion world. 1784 – 1830s Bodoni However, if faced with creating something that evokes the 1790s, • extreme contrast in thicks and thins this is THE font to use. •Semiotics very fine, horizontal of different serifs typefaces (above set in Linotype Didot) •explained terminals rounded through historical reference.

TYPEFACE CATEGORY TYPEFACETYPEFACE CATEGORYCATEGORY SPECIMENS SPECIMENSSPECIMENS WHERE TO USE WHEREWHERE TOTO USEUSE Slab serifs have strong associations Slab Serifs ClarendonUse when you want to make your withUseUse whenthewhen American youyou wantwant Old toto makeWest.make youryourUse Humanist Adobe Jenson composition look traditional or HumanistHumanist AdobeAdobe JensonJenson heavycompositioncomposition slab serifs looklook any traditionaltraditional time you oror want 1820s – 1900s Elizabethan. 1470s – 1590s1470s1470s –– 1590s1590sCentaur Memphis toElizabethan.Elizabethan. convey a sense of ruggedness. • unbracketed square serifs Humanist fonts can sometimes have • slanted stroke axis CentaurCentaur Lighter slabs such as Memphis add a an unintended rusticism to them HumanistasHumanist fontsfonts cancan sometimessometimes havehave • slanted bar on lower-case•• serifsslantedslanted e same strokestroke width axisaxis as stems(above set in Adobe Jenson) Robotowell, Slab due to the slanted axes andlight-heartedan an unintendedunintended nature rusticismrusticism to content, toto themthem and asas • heavy weight and color•• sometimesslantedslanted barbar referred onon lower-caselower-case to as “Egyptians” ee (above(above setset inin AdobeAdobe Jenson)Jenson) heavy color. arewell,well, often duedue foundtoto thethe inslantedslanted food and axesaxes home andand •• heavyheavy weightweight andand colorcolor (above set in HWT Slab Antique) designheavyheavy color. color.magazines.

Evokes the Baroque or Neoclassicist Old Style Roman Garamond periods Grotesques are so void of emotion GrotesquesOldOld StyleStyle RomanRoman HelveticaGaramondGaramond andEvokesEvokes symbolism thethe BaroqueBaroque that they oror NeoclassicistNeoclassicist create a 1530s – 1750s Caslon Use an Old Style, particularly Caslon,symbolismperiodsperiods all their own. Use when 1820s – 1950s if you want to create something you want something to be clear, • contrast between thicks and thins 1530s1530s –– 1750s1750s Universpatriotic, classic, and gently authoriUseUse- anan OldOld Style,Style, particularlyparticularly Caslon,Caslon, • medium weight and color CaslonCaslon emotionless, corporate, and/or • no serifs whatsoever Bembo tative. ifif youyou wantwant toto createcreate somethingsomething • capitals shorter than ascenders•• contrastcontrast betweenbetween thicksthicks andand thinsthins informational. • curled leg in capital “R” patriotic,patriotic, classic,classic, andand gentlygently authoriauthori-- •• mediummedium weightweight andand colorcolor(above set in Cormorant Garamond)Franklin Gothic • slight squareness to the curves BemboBembo tative.tative. •• capitalscapitals shortershorter thanthan ascendersascenders Grotesques have strong associations (above set in Helvetica) with International Style, and the time (above(above setset inin CormorantCormorant Garamond)Garamond) periods associated therewith. If you want your design to look Associations with the Cold War, the Transitional Baskerville mechanical, but still elegant, thenNuclear Era, & big corporations. 1698 – 1790s transitional faces are the way to go. Georgia They may have less personality thanIfIf youyou wantwant youryour designdesign toto looklook TransitionalTransitional BaskervilleBaskervilletheir forefathers, but they fill an mechanical, but still elegant, then • vertical axis mechanical, but still elegant, then important need: they are unoffensive • horizontal foot serifs (above set in Baskerville URW) Thesetransitionaltransitional fonts facesfacesare appropriate areare thethe wayway when toto go.go. Sans16981698 ––Serif 1790s1790s Humanist Gill Sansand effective, while still conveying a • bracketed serifs GeorgiaGeorgia yourTheyThey content maymay havehave deserves lessless personalitypersonality a friendlier, thanthan sense of class. theirtheir forefathers,forefathers, butbut theythey fillfill anan •• verticalvertical axisaxis more personable approach. Sans 1900s – present importantimportant need:need: theythey areare unoffensiveunoffensive •• horizontalhorizontal footfoot serifsserifs Frutiger(above(above setset inin BaskervilleBaskerville URW)URW) serif humanists are excellent for children'sandand effective,effective, textbooks, whilewhile stillstill as conveyingwellconveying as ads a a •• morebracketedbracketed personality serifsserifs than Grotesques andsensesense articles ofof class.class. that want to feel • variation in thicks and thins Calibri Today Moderns are associated mostapproachable. Modern Roman• modeled after HumanistDidot serifs closely with the fashion world. (above set in Gill Sans) These fonts also have a history with 1784 – 1830s Bodoni However, if faced with creating something that evokes the 1790s,airportToday Modernsand railway are signage. associated most • extreme contrast in thicks and thins Today Moderns are associated most ModernModern RomanRoman DidotDidot this is THE font to use. • very fine, horizontal serifs (above set in Linotype Didot) closelyclosely withwith thethe fashionfashion world.world. • terminals rounded 17841784 –– 1830s1830s However,However, ifif facedfaced withwith creatingcreating BodoniBodoni Geometrics have strong associations somethingsomething thatthat evokesevokes thethe 1790s,1790s, Sans•• extremeextreme Serif contrastcontrast ininGeometric thicksthicks andand thinsthins Futura with the myriad avant garde move- thisthis isis THETHE fontfont toto use.use. •• veryvery fine,fine, horizontalhorizontal serifsserifs (above(above setset inin LinotypeLinotype Didot)Didot) ments of the 1920s, giving them a 1920s• terminals – rounded present Slab Serifs• terminals rounded Clarendon Century SlabGothic serifs have strong associationsprogressive, innovative feel. • letters based on geometric shapes with the American Old West. Use These fonts work well for art • strokes are uniform thickness heavy slab serifs any time you want 1820s – 1900s Avenir to convey a sense of ruggedness.brochures, alternative energy • smaller x-height Memphis • unbracketed square serifs materials, or anything trying to feel (above set in Futura)Lighter slabs such as Memphis add a • serifs same width as stems freshSlabSlab serifsyetserifs grounded, havehave strongstrong youthful associationsassociations yet Slab SerifsRoboto SlabClarendonlight-hearted nature to content, and • sometimes referred toSlab as “Egyptians” Serifs Clarendon knowledgeable.withwith thethe AmericanAmerican OldOld West.West. UseUse are often found in food and home heavyheavy slabslab serifsserifs anyany timetime youyou wantwant 1820s1820s –– 1900s1900s(above set in HWT Slab Antique) design magazines. MemphisMemphis toto conveyconvey aa sensesense ofof ruggedness.ruggedness. •• unbracketedunbracketed squaresquare serifsserifs LighterLighter slabsslabs suchsuch asas MemphisMemphis addadd aa •• serifsserifs samesame widthwidth asas stemsstems RobotoRobotoGrotesques SlabSlab are so void of emotionlight-heartedlight-hearted naturenature toto content,content, andand •• sometimessometimes referredreferred toto asas “Egyptians”“Egyptians” Grotesques© 2019 The Concept Spot,Helvetica LLC || www.theconceptspot.com and symbolism that they create aareare oftenoften foundfound inin foodfood andand homehome (above(above setset inin HWTHWTsymbolism SlabSlab Antique)Antique) all their own. Use whendesigndesign magazines.magazines. 1820s – 1950s you want something to be clear, Univers emotionless, corporate, and/or • no serifs whatsoever informational. • curled leg in capital “R” • slight squareness to the curves Franklin Gothic GrotesquesGrotesques areare soso voidvoid ofof emotionemotion Grotesques have strong associations GrotesquesGrotesques(above set in Helvetica) HelveticaHelveticawith International Style, and the timeandand symbolismsymbolism thatthat theythey createcreate aa 1820s1820s –– 1950s1950s periods associated therewith. symbolismsymbolism allall theirtheir own.own. UseUse whenwhen UniversAssociations with the Cold War, theyouyou wantwant somethingsomething toto bebe clear,clear, UniversNuclear Era, & big corporations. emotionless,emotionless, corporate,corporate, and/orand/or •• nono serifsserifs whatsoeverwhatsoever informational.informational. •• curledcurled legleg inin capitalcapital “R”“R” •• slightslight squarenesssquareness toto thethe curvescurves FranklinFranklin GothicGothic GrotesquesGrotesques havehave strongstrong associationsassociations Sans Serif Humanist Gill Sans (above(above setset inin Helvetica)Helvetica)These fonts are appropriate whenwithwith InternationalInternational Style,Style, andand thethe timetime your content deserves a friendlier,periodsperiods associatedassociated therewith.therewith. more personable approach. Sans AssociationsAssociations withwith thethe ColdCold War,War, thethe 1900s – present Frutiger serif humanists are excellent for children's textbooks, as well as adsNuclearNuclear Era,Era, && bigbig corporations.corporations. • more personality than Grotesques and articles that want to feel • variation in thicks and thins Calibri approachable. • modeled after Humanist serifs SansSans SerifSerif HumanistHumanist(above set in Gill Sans) GillGill SansSansThese fonts also have a history withTheseThese fontsfonts areare appropriateappropriate whenwhen airport and railway signage. youryour contentcontent deservesdeserves aa friendlier,friendlier, 1900s – present moremore personablepersonable approach.approach. SansSans 1900s – present FrutigerFrutiger serifserif humanistshumanists areare excellentexcellent forfor children'schildren's textbooks,textbooks, asas wellwell asas adsads •• moremore personalitypersonality thanthan GrotesquesGrotesques Geometrics have strong associations Sans Serif Geometric Futura andand articlesarticles thatthat wantwant toto feelfeel •• variationvariation inin thicksthicks andand thinsthins with the myriad avant garde move- CalibriCalibri approachable.approachable. •• modeledmodeled afterafter HumanistHumanist serifsserifs ments of the 1920s, giving them a 1920s – present Century Gothic progressive, innovative feel. (above(above setset inin GillGill Sans)Sans) TheseThese fontsfonts alsoalso havehave aa historyhistory withwith • letters based on geometric shapes These fonts work well for art airport and railway signage. • strokes are uniform thickness airport and railway signage. Avenir brochures, alternative energy • smaller x-height materials, or anything trying to feel (above set in Futura) fresh yet grounded, youthful yet knowledgeable. GeometricsGeometrics havehave strongstrong associationsassociations SansSans SerifSerif GeometricGeometric FuturaFutura withwith thethe myriadmyriad avantavant gardegarde movemove-- mentsments ofof thethe 1920s,1920s, givinggiving themthem aa 1920s1920s –– presentpresent CenturyCentury GothicGothic progressive,progressive, innovativeinnovative feel.feel. •• lettersletters basedbased onon geometricgeometric shapesshapes TheseThese fontsfonts workwork wellwell forfor artart © 2019 The Concept Spot,•• strokesstrokes LLC areare|| www.theconceptspot.com uniformuniform thicknessthickness AvenirAvenir brochures,brochures, alternativealternative energyenergy •• smallersmaller x-heightx-height materials,materials, oror anythinganything tryingtrying toto feelfeel (above(above setset inin Futura)Futura) freshfresh yetyet grounded,grounded, youthfulyouthful yetyet knowledgeable.knowledgeable.

TYPEFACE CATEGORY SPECIMENS WHERE TO USE Use when you want to make your Humanist Adobe Jenson composition look traditional or Use when you want to make your Elizabethan. 1470sHumanist – 1590s Adobe Jenson composition look traditional or Centaur Elizabethan. Humanist fonts can sometimes have •1470s slanted stroke – 1590s axis Centaur an unintended rusticism to them as • slanted bar on lower-case e (above set in Adobe Jenson) Humanist fonts can sometimes have • slanted stroke axis well, due to the slanted axes and • heavy weight and color an unintended rusticism to them as • slanted bar on lower-case e (above set in Adobe Jenson) heavy color. well, due to the slanted axes and • heavy weight and color heavy color.

Evokes the Baroque or Neoclassicist Old Style Roman Garamond periods Evokes the Baroque or Neoclassicist Old Style Roman Garamond periods 1530s – 1750s Caslon Use an Old Style, particularly Caslon, if you want to create something •1530s contrast between– 1750s thicks and thins Use an Old Style, particularly Caslon, Caslon patriotic, classic, and gently authori- • medium weight and color if you want to create something • contrast between thicks and thins Bembo tative. • capitals shorter than ascenders patriotic, classic, and gently authori- • medium weight and color Bembo tative. • capitals shorter than ascenders (above set in Cormorant Garamond) (above set in Cormorant Garamond)

If you want your design to look Transitional Baskerville mechanical, but still elegant, then If you want your design to look transitional faces are the way to go. Transitional Baskerville mechanical, but still elegant, then 1698 – 1790s They may have less personality than Georgia transitional faces are the way to go. their forefathers, but they fill an •1698 vertical axis– 1790s They may have less personality than Georgia important need: they are unoffensive • horizontal foot serifs (above set in Baskerville URW) their forefathers, but they fill an • vertical axis and effective, while still conveying a • bracketed serifs important need: they are unoffensive • horizontal foot serifs (above set in Baskerville URW) sense of class. and effective, while still conveying a • bracketed serifs sense of class.

Today Moderns are associatedpage most 2 of 2 Modern Roman Didot closely with the fashion world. Today Moderns are associated most Modern Roman Didot closely with the fashion world. 1784 – 1830s Bodoni However, if faced with creating something that evokes the 1790s, •1784 extreme – contrast 1830s in thicks and thins However, if faced with creating Bodoni this is THE font to use. • very fine, horizontal serifs (above set in Linotype Didot) something that evokes the 1790s, •Semiotics extreme contrast of different in thicks and typefaces thins • terminals rounded this is THE font to use. •explained very fine, horizontal through serifs historical reference.(above set in Linotype Didot) • terminals rounded

TYPEFACE CATEGORY TYPEFACE CATEGORY SPECIMENS SPECIMENS WHERE TO USE WHERE TO USE Slab serifs have strong associations Slab Serifs ClarendonUse when you want to make yourwith the American Old West. Use Humanist Adobe Jenson SlabUse whenserifs haveyou want strong to associationsmake your Humanist Adobe compositionJenson look traditional or heavy slab serifs any time you want Slab Serifs Clarendon withcomposition the American look traditionalOld West. orUse 1820s – 1900s Elizabethan. to convey a sense of ruggedness. 1470s – 1590s1470s – 1590sCentaur Memphis heavyElizabethan. slab serifs any time you want •1820s unbracketed – 1900s square serifs Humanist fonts can sometimes haveto convey a sense of ruggedness. • slanted stroke axis MemphisCentaur Lighter slabs such as Memphis add a • serifs same width as stems an unintended rusticism to them asHumanist fonts can sometimes have • slanted bar on lower-case•• unbracketedslanted e stroke square axis serifs(above set in Adobe Jenson)Roboto Slab light-hearted nature to content, and • sometimes referred to as “Egyptians” well, due to the slanted axes andLighter an unintended slabs such rusticism as Memphis to them add as a • heavy weight and color•• serifsslanted same bar width on lower-case as stems e (above set in Adobe Jenson) are often found in food and home Robotoheavy Slab color. light-heartedwell, due to the nature slanted to content, axes and and •• sometimesheavy weight referred and color to as “Egyptians” (above set in HWT Slab Antique) design magazines. areheavy often color. found in food and home (above set in HWT Slab Antique) design magazines.

Evokes the Baroque or Neoclassicist Old Style Roman Garamond periods Grotesques are so void of emotion Grotesques Helvetica andEvokes symbolism the Baroque that they or Neoclassicist create a Old Style Roman Garamond Grotesques are so void of emotion 1530s – 1750s Use an Old Style, particularly Caslon,symbolismperiods all their own. Use when Caslon Helvetica and symbolism that they create a 1820sGrotesques – 1950s if you want to create something you want something to be clear, • contrast between thicks and thins 1530s – 1750s Universpatriotic, classic, and gently authorisymbolismUse- an Old all Style, their particularly own. Use when Caslon, • medium weight and color1820s – 1950s Caslon emotionless, corporate, and/or • no serifs whatsoever Bembo tative. youif you want want something to create tosomething be clear, • capitals shorter than ascenders• contrast between thicks and thins Univers informational. • curled leg in capital “R” emotionless,patriotic, classic, corporate, and gently and/or authori - •• nomedium serifs whatsoeverweight and color Franklin Gothic • slight squareness to the(above curves set in Cormorant Garamond)Bembo informational.tative. •• curledcapitals leg shorter in capital than “R” ascenders Grotesques have strong associations • slight squareness to the curves Franklin(above set in Helvetica) Gothic with International Style, and the time (above set in Cormorant Garamond) Grotesques have strong associations periods associated therewith. (above set in Helvetica) with International Style, and the time Associations with the Cold War, the If you want your design to look periods associated therewith. Transitional Baskerville mechanical, but still elegant, thenNuclear Era, & big corporations. Associations with the Cold War, the transitional faces are the way to go. 1698 – 1790s Nuclear Era, & big corporations. Georgia They may have less personality thanIf you want your design to look Transitional Baskervilletheir forefathers, but they fill an mechanical, but still elegant, then • vertical axis important need: they are unoffensive • horizontal foot serifs (above set in Baskerville URW) Thesetransitional fonts facesare appropriate are the way when to go. Sans1698 –Serif 1790s Humanist Gill Sansand effective, while still conveying a • bracketed serifs Georgia yourThey content may have deserves less personality a friendlier, than sense of class. These fonts are appropriate when Sans Serif Humanist Gill Sans moretheir forefathers,personable butapproach. they fill Sans an • vertical axis your content deserves a friendlier, 1900s – present (above set in Baskerville URW) serifimportant humanists need: are they excellent are unoffensive for • horizontal foot serifs Frutiger more personable approach. Sans children'sand effective, textbooks, while still as wellconveying as ads a •1900s• morebracketed personality – serifs present than Grotesques serif humanists are excellent for Frutiger andsense articles of class. that want to feel • variation in thicks and thins children's textbooks, as well as ads • more personality than Grotesques Calibri Today Moderns are associated mostapproachable. Modern Roman• modeled after HumanistDidot serifs and articles that want to feel • variation in thicks and thins closely with the fashion world. Calibri approachable. • modeled after Humanist serifs (above set in Gill Sans) These fonts also have a history with 1784 – 1830s Bodoni However, if faced with creating (above set in Gillsomething Sans) that evokes the 1790s,airportToday Modernsand railway are signage. associated most • extreme contrast in thicks and thins These fonts also have a history with Modern Roman Didot this is THE font to use. • very fine, horizontal serifs (above set in Linotype Didot) airportclosely andwith railway the fashion signage. world. • terminals rounded 1784 – 1830s However, if faced with creating Bodoni Geometrics have strong associations something that evokes the 1790s, Sans• extreme Serif contrast inGeometric thicks and thins Futura with the myriad avant garde move- Geometricsthis is THE font have to strong use. associations • very fine, horizontal serifs (above set in Linotype Didot) ments of the 1920s, giving them a Sans Serif Geometric Futura with the myriad avant garde move- 1920s• terminals – rounded present progressive, innovative feel. Slab Serifs Clarendon Century SlabGothic serifs have strong associationsments of the 1920s, giving them a •1920s letters based – present on geometric shapes with the American Old West. Useprogressive, innovative feel. Century Gothic These fonts work well for art • strokes are uniform thickness heavy slab serifs any time you want 1820s – 1900s• letters based on geometric shapes Avenir to convey a sense of ruggedness.brochures, alternative energy • smaller x-height Memphis These fonts work well for art • strokes are uniform thickness materials, or anything trying to feel • unbracketed square serifs Avenir brochures, alternative energy • smaller x-height (above set in Futura)Lighter slabs such as Memphis addfresh a yet grounded, youthful yet • serifs same width as stems materials,Slab serifs or have anything strong trying associations to feel Slab SerifsRoboto SlabClarendonlight-hearted nature to content, andknowledgeable. • sometimes referred to as “Egyptians” (above set in Futura) freshwith theyet Americangrounded, Old youthful West. yet Use are often found in food and homeheavy slab serifs any time you want 1820s – 1900s(above set in HWT Slab Antique) design magazines. knowledgeable. Memphis to convey a sense of ruggedness. • unbracketed square serifs Lighter slabs such as Memphis add a • serifs same width as stems RobotoGrotesques Slab are so void of emotionlight-hearted nature to content, and • sometimes referred to as “Egyptians” Grotesques 21 e oep poHelvetica eoeppoo and symbolism that they create aare often found in food and home (above set in HWTsymbolism Slab Antique) all their own. Use whendesign magazines. 1820s – 1950s 21 e oep po eoeppoo you want something to be clear, Univers emotionless, corporate, and/or • no serifs whatsoever informational. • curled leg in capital “R” • slight squareness to the curves Franklin Gothic Grotesques are so void of emotion Grotesques have strong associations Grotesques(above set in Helvetica) Helveticawith International Style, and the timeand symbolism that they create a periods associated therewith. symbolism all their own. Use when 1820s – 1950s Associations with the Cold War, theyou want something to be clear, Univers emotionless, corporate, and/or • no serifs whatsoever Nuclear Era, & big corporations. informational. • curled leg in capital “R” • slight squareness to the curves Franklin Gothic Grotesques have strong associations Sans Serif Humanist Gill Sans (above set in Helvetica)These fonts are appropriate whenwith International Style, and the time your content deserves a friendlier,periods associated therewith. more personable approach. Sans Associations with the Cold War, the 1900s – present Frutiger serif humanists are excellent for children's textbooks, as well as adsNuclear Era, & big corporations. • more personality than Grotesques and articles that want to feel • variation in thicks and thins Calibri approachable. • modeled after Humanist serifs Sans Serif Humanist(above set in Gill Sans) Gill SansThese fonts also have a history withThese fonts are appropriate when airport and railway signage. your content deserves a friendlier, more personable approach. Sans 1900s – present Frutiger serif humanists are excellent for children's textbooks, as well as ads • more personality than Grotesques Geometrics have strong associations Sans Serif Geometric Futura and articles that want to feel • variation in thicks and thins with the myriad avant garde move- Calibri approachable. • modeled after Humanist serifs ments of the 1920s, giving them a 1920s – present Century Gothic progressive, innovative feel. (above set in Gill Sans) These fonts also have a history with • letters based on geometric shapes These fonts work well for art airport and railway signage. • strokes are uniform thickness Avenir brochures, alternative energy • smaller x-height materials, or anything trying to feel (above set in Futura) fresh yet grounded, youthful yet knowledgeable. Geometrics have strong associations Sans Serif Geometric Futura with the myriad avant garde move- ments of the 1920s, giving them a 1920s – present Century Gothic progressive, innovative feel. • letters based on geometric shapes These fonts work well for art 21 e oep po• strokes are eoeppoo uniform thickness Avenir brochures, alternative energy • smaller x-height materials, or anything trying to feel (above set in Futura) fresh yet grounded, youthful yet knowledgeable.

21 e oep po eoeppoo