nopqrstuvwxy z0123456789abc defghijklmnop...

ABCDEFGHIJKLMNOPQRSTUVWXYZ0123456789ABCDEFGHIJKLMNOPGHIJKLMYZ01234567ABCDEFGHIJRSTYPEBOOKLM NOPQRSTUVWXYZ0123456789ABCDEFGHIJKLMNOPQRSTUVWXYZ012

CHAPT

ER 1TABLE OF CONTENTS

DISPLAY:

HANDWRITING:

HUMANIST:

MODERN:

OLDSTYLE:

SAN SERIF GEOMETRIC:

SAN SERIF GROTESQUE

SCRIPT:

SLAB SERIF:

TRADITIONAL:

05

13

21

29

37

45

53

61

69

77

ABCDEFGHIJKLMNOPQRSTUVWXYZ0123456789ABCEDFGHIJKLMNOPQRSTABCDISPLAYZ0123456789ABCDEFGHIJKLMNOPQRSTUVWXYZ0123456789ABCDEFGHIJKLMNOPQRSTUVWXYZ0123456789ABC

Display has a broad range of typefaces that do not fit the criteria for any other category. Their distinctive, original, and eyecatching characteristics are perfect for headlines. Designing them requires few rules which allows for a more decorative look.

History: x he

ight

counter

terminalserif

cap line

baseline

mean lineascenders

descendersarm

07

14/16 ptDesigneD by John peters in 1957

12/14 ptwith a sophisticateD anD shaDeD look, this typface is best useD in larger sizes

10/12 pt oborrgh sequisDlore Dio conullutffff Dolupta tummoDofff loboreff corperat, onsent nis aD Dui

9/10 ptoborrhJ JJklmiuhJDDDD ii Jkmn JJDfhJJ ihJJ Dnbuy fJuhgkik no you nhJuf; JfJfJ ikJu kDo lJDnnvkviv

castellar regular

aBroadway

castellar

Copperplate

ImpactStencil

abcDefghiJklmnopqrstuvwxyz0123456789

Displaytypeface anD classification

06

BroadwayREGULARAaBroadway

castellar

Copperplate

ImpactStencil

AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz

0123456789

DISPL AYTYPEFACE AND CLASSIFICATION

14/16 ptOriginally designed by Morris Fuller Benton in 1927 for ATF only as capitals

12/14 ptLowercase was introduced in 1929 as a montotype by Sol Hess.

10/12 pt Obor sequis dolore dio conullut dolupta tum-modo lobore corperat, onsent nis ad duissit 9/10 pt

Obor sequis dolore dio conullut dolupta tum-modo lobore corperat, onsent nis ad duissit

09

14/16 ptDesigned by Geoffrey Lee in 1965 and released by the Stephenson Blake foundry.

12/14 ptCharacteristics include its ultra-thick strokes, compressed letterspacing, and short ascenders and descenders. 10/12 pt

Intended for use in advertising and news headlines but have been more recently used for internet memes after it was included as a core font for the web.

9/10 ptThe mid-1960s marked the height of a fashion for bold condensed faces. Impact is aimed to “impact” and hold the viewer’s attention immediately.

Impact REGULAR

ABroadway

castellar

Copperplate

ImpactStencil

AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz0123456789

D I S P L AYTYPEFACE AND CLASSIFICATION

08

Copperplate

REGULARAaBroadway

castellar

Copperplate

ImpactStencil


DISPL AYTYPEFACE AND CLASSIFICATION

14/16 ptDesigned by Frederic Goudy and released by American Type Founders in 1901

12/14 ptdefined by small glyphic serifs that emphasize the blunt terminus strokes.

10/12 ptmost often used in stationery, and etched into glass doors of banks, restaurants, and law offices.

9/10 ptThe stone carving glyphs leave a crisp impression; making it ideal for offset printing.

CHAPT

ER 2

10

Stencil

ReGUlARABroadway

castellar

Copperplate

ImpactStencil

ABcDeFGHiJKlMnOPQRStUVWXYZ0123456789

DiSPlAYtYPeFAce AnD clASSiFicAtiOn

14/16 PtStencil ReFeRS tO tWO tYPeFAceS tHAt WeRe BOtH ReleASeD in 1937

12/14 PtR. HUneteR MiDDletOn cRe-AteD in in JUne FOR lUFlOW. GeRRY POWell cReAteD HiS VeRSiOn in JUlY FOR AtF

10/12 PtcHARActeRiSticS inclUDe ROUnDeD eDGeS AnD tHicK MAin StROKeS,WitH BReAKS in tHe FAce tO GiVe it tHe Stencil APPeARAnce USeD On BOXeS AnD cRAteS.

9/10 PtA cOMMOn FOnt FOR ARMY-tHeMeD DiS-PlAYS SUcH AS tHe A-teAM AnD M*A*S*H teleViSiOn SeRieS. it iS AlSO USeD in tHe lOGO FOR tHe HOMe DePOt.

ABCDEFGHIJKLMNOPQRSTUVWX YZ0123456789ABCEDFGHIJKLMN BCDEFGHANDWRITINGHIJKLMNO PQRSTUVWXYZ0123456789ABCD EFGHIJKLMNOPQRSTUVWXYZ01 23456789ABCDEFGHIJKLMNOPQ RSTUVWXYZ0123456789ABCDE FGHIJKLMNOPQRSTUVWXYZ0123

Handwriting is an interpretation from hand print-ed letterforms. Natural handwriting typefaces are not uniform in size, so the x-height is more relative than exact. Typefaces should be used at a size that approximates real handwriting, not at the size you would use a text font.

History: x he

ight

counter

terminalserif

cap line

baseline

mean lineascenders

descendersarm

15

14/16 ptDesigned by Vincent Connare & released in 1994 by Micrsoft Corporation

12/14 ptClassified as a casual, non-connecting script. It was designed to imitate the historical look of comic book lettering 10/12 pt

Connare decided to create a new typeface for speech bubbles of cartoon characters. Is based on the lettering style of The Dark Night Returns and Watchmen

9/10 ptComic Sans Pro was created in 2011. It added four fonts, extra symbols and dingbats

Comic SansREGULAR BOLD ITALIC BOLDITALIC

AaBradley Hand

Comic SansHarabarahand

Lucida

Mistral

AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvwXxYyZz0123456789

HANDWRITINGTYPEFACE AND CLASSIFICATION

14

Bradley HandREGULARAaBradley Hand


Lucida

Mistral


0123456789


14/16 ptWas developed by Richard Bradley in collaboration with Colin Brignall and released for digital display in 1996

12/14 ptBased on Richard Bradley’s own handwriting; it was originally developed for dry transfer lettering

10/12 ptThis typeface has a mich more casual feel than Bradley’s other designs. It’s relaxed rhythm is typical of a handwriting style in order to provide a personal touch

9/10 ptBradley has been a type designer for 30 years and has designed typefaces based off of Christian literature for scripture versers that are placed on panels or walls

17

14/16 ptLucida family was designed by Charles Bigelow and Kris Holmes in 1985

12/14 ptWas designed to resemble in-formal cursive handwriting. derived from the cursive block

10/12 ptUsed for signs, posters, menus, and to portray

an antique look 9/10 ptIs a tightly fitten design that needs enough line spac-ing so that ascend-ers and descenders dont collide

Lucida Hand

ITALIC

AaBradley Hand


Lucida

Mistral


0123456789


16

HarabarahandITALIC

AaBradley Hand


Lucida

Mistral


0123456789


14/16 ptThe typeface was designed by Andre Harabara in September 2009

12/14 ptThis is a hand drawn classification. It is a casual typeface.

10/12 ptThe typeface was uploaded to free font websties such as dafont.com and has since been downloaded 153,609 times by various users.

9/10 ptThe font is available in other languages: Albanian, Basque, Breton, Chamorro, English, Frisian, Galician, Italian, Malagasy, and Por-tuguese.

CHAPT

ER 3

18

MistralREGULARAaBradley Hand


Lucida

Mistral

TYPEFACE AND CLASSIFICATION

14/16 ptDesigned by Roger Excoffon for the Fonderie Olive type Foundry in 1953

12/14 ptThe form is based on his own handwriting. The stoke has an informal graphic quality that is similar to an ink brush.

10/12 ptThe lowercase letters are designed to connect on a line to an extent. Descenders are long and increase the sense of motion.

9/10 ptThe face has several specially-de-signed ligatures. It is a true connecting script.

HANDWRI T INGAaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz0123456789

ABCDEFGHIJKLMNOPQRSTUVWXYZ012 3456789ABCDEFGHIJKLMNOPQRSTUV WXYABCDEFGHUMANISTUVWXYZ0123 456789ABCDEFGHIJKLMNOPQRSTUVW XYZ0123456789ABCDEFGHIJKLMNOPQ RSTUVWXYZ0123456789ABCDEFGHIJK LMNOPQRSTUVWXYZ0123456789ABC DEFGHIJKLMNOPQRSTUVWXYZ012345

Humanistic typefaces were designed as an attempt to improve the readability of sans serifs. They are based on the proportions of Roman capitals and lstyle lowercase, with a stroke contrast.

History: x he

ight

counter

terminalserif

cap line

baseline

mean lineascenders

descendersarm

23

Gill Sans

REGULAR BOLD ITALIC BOLD ITALIC

AaCalibri

Gill Sans

Myriad

TahomaVerdana


HUMANISTTYPEFACE AND CLASSIFICATION

14/16 ptWas designed by Eric Gill in 1928. It was designed to funchtion well as a text face and display

12/14 ptThe original design appeared in 1926 when Gill painted the font over a friends bookshop window

10/12 ptGill further developed it into a complete font family after be-ing commissioned by Stanley Morison. Morison wanted the typeface to combat the fami-lies of Erbar, Futura and Kabel that were being launched in Germany 1920s

9/10 ptThe typeface became popular in 1929 when Cecil Dandridge commissioned Eric Gill to use the typeface in the London and North Eastern Railway publicity materials.

22

CalibriREGULAR BOLD ITALIC BOLD ITALIC

AaCalibri

Gill Sans

Myriad

TahomaVerdana



14/16 ptWas designed by Lucas de Groot for Microsoft in 2004.

12/14 ptCalibri is a humanist sans serif typeface family under the Microsoft Clear Type Font Collection.

10/12 ptCharacteristics are the subtly ounded stems and corners. The typeface includes char-acters from Latin, Greel, and Cyrillic scripts.

9/10 ptCalibri is the default in Microsoft programs such as Excel, Power-Point, Word, and WorkPad.

25

Tahoma

REGULAR BOLD

AaCalibri

Gill Sans

Myriad

TahomaVerdana



14/16 ptWas designed by Matthew Carter in 1994 for Microsoft.

12/14 ptCharacteristics include narrow body, less gener-ous counters, and tight letter spacing.

10/12 ptIt has a distinct advantage over fonts like Arial for use with technical material. For example the uppercase “I” is easily distinguished from lowercase “l”.

9/10 ptTahoma typeface family was named after the Native Amer-icans who were named for the stratvolcano Mount Rainier (Mount Tahoma). A promi-nent feature of the southern landscape around the Seattle metropolitan area.

24

Myriad Pro


AaCalibri

Gill Sans

Myriad

TahomaVerdana


HUMANISTT YPEFACE AND CLASSIFICATION

14/16 ptWas designed by Robert Slimbach and Carol Twombly for Adobe Systems in 1991.

12/14 ptCharacteristics include its special “y” descender and slanting “e” cut.

10/12 ptThe typeface is best known for its usage by Apple Inc., becoming Apple’s corporate font since 2002.

9/10 ptMyrian is also used in corpo-rate identities of Wells Fargo, Walmart, Modern Telegraph, and Rolls Royce.

26

VerdanaREGULAR BOLD ITALIC BOLD ITALIC

AaCalibri

Gill Sans

Myriad

TahomaVerdana



14/16 ptWas designed by Matthew Carter in 1996 for Microsoft.

12/14 ptHand-hinting was done by Thomas Rickner at Monotype

10/12 ptWas designed to be readable at small screen sizes on a computer. The lack of serifs, large x-height, wide proportions, and loose letter-spacing increase legibility

9/10 ptCharacteristics in lowercase include square dot of the i and the short bar on top of the jay. Uppercase includes the centered tail on the Q, slight hook on the J, and short bars on the top and bottom of the I CH

APTER

4

ABCDEFGHIJKLMNOPQRSTUVWXY Z0123456789ABCDEFGHIJKLMNOPQBCDEFGHIJKLMODERNOPQRSTUVWXYZ0123456789ABCDEFGHIJKLMNOPQRSTUVWXYZ0123456789ABCDEFGHIJKLMNOPQRSTUVWXYZ0123456789ABCDEFGHIJKLMNOPQRSTUVWXYZ0123456789ABCDEFGHIJKLM

Modern typefaces have a refined and more delicate style. They are characterizd by high contrast be-tween thich and thin strokes, curved strokes on a vertical axis, and serifs that are horizonal with little to no bracketing.

History: x he

ight

counter

terminalserif

cap line

baseline

mean lineascenders

descendersarm

31

Bodoni MT


AaAubreyBodoniElephant

Modern No. 20

Nouvelle Vague


MODERNTYPEFACE AND CLASSIFICATION

14/16 ptWas designed by Giambattista Bodoni in 1798. The typeface is claddified as a Didone modern.

12/14 ptFollows the ideas of John Baskerville who increased the stroke contrast of his typeface Baskerville.

10/12 ptBodoni’s typeface design evolved and varied, ending with a narrower underlying structure with flat, bracketed serifs, extreme contrast be-twen thick and thin strokes and a geometric construction.

9/10 ptDistinctive characteristics of this typeface include: round dot over the lowercase letter i, and double story lowercase a.The tail of the uppercase Q is centered under the letter, the uppercase J has a slight hook, and there are two versions of the uppercase R. One has a straight tail while the other has a curved tail.

30

Aubrey

REGULARAaAubrey

BodoniElephant

Modern No. 20

Nouvelle Vague


MO DERNT Y P E FAC E A N D C L A S S I F I C AT I O N

14/16 ptAubrey is a condensed font with an art nouveau essence. It was designed by Gayaneh Bagdasaryan

12/14 ptCharacterized by elements that are cut and swapped with sloped curves creating off beats in the overall rhythm. Spurs twist and stress the ovement

10/12 ptArt Nouveau began in the late 1800s and remained dominant until World War I. It was popular in North America & Europe.

9/10 ptThe typeface is a good choice for designing holiday decorations and greeting. It works best in medium sizes.

33

Modern No. 20

REGULAR


Modern No. 20

Nouvelle Vague



14/16 ptOriginally designed by the Stephenson Blake foundry in 1905

12/14 ptWas later recreated & eventually digitized in the mid-1900s by Edouard Benguiat

10/12 ptConsidered a Didot modern font. Didont fonts are Neo-clasical and Romantic in style, making the typeface and elegant display.

9/10 ptCharacteristicly has hairline strokes, flat serifs, and more curves in the numeral set.

32

ElephantREGULAR ITALIC


Modern No. 20

Nouvelle Vague



14/16 ptElephant was designed in 1992 by Mattew Carter, one of the most praised type designers of today.

12/14 ptThe typeface is a careful re-working of a traditional English extra-bold serif style.

10/12 ptIt originaly appeared in post-ers, alternating from roman to italic on successive lines.

9/10 ptThe typeface is best used to catch attention to a word. A single quote will draw the reader’s eye to its place.

34

Nouvelle Vague

REGULAR


Modern No. 20

Nouvelle Vague



14/16 ptWas created by Elena Alberto0ni in 2011 for Anatoletype. 0

12/14 ptIt0s look is defines by a strady rhythm, that is broken by its off0beat, uppercase initials.

10/12 ptThe typeface is directly inspired by french adver0tising scripts from the fif0ties, particuarly bu Roger Excoffons Mistral.

9/10 ptTo accentu0ate the french influence and reproduce their visual impace, simple struc0tured connec0tions between the letters are preferred CH

APTER

5

ABCDEFGHIJKLMNOPQRSTUVWXYZ0123456789ABCEDFGHIJKHIJKLMNOLDSTYLEFGHIJKLMNOPQRSTUVWXY0123456789ABCDEFGHIJKLMNOPQRSTUVWXYZ0123456789ABCDEFGHIJKLMNOPQRSTUVWXYZ0123

This category of typefaces originated between the late fifteenth and the mid-eighteenth century. Old style is characterized by curved strokes with the axis inclined to the left, little contrast between thick-and-thin strokes, headserifs that are usually angled, and bracketed serifs.

History: x he

ight

counter

terminalserif

cap line

baseline

mean lineascenders

descendersarm

38

14/16 ptThe typeface was originally created by Claude Garamond in the year 1530

12/14 ptRobert Slimbach created Adobe Garamond Pro in 1989. It is based on the Roman types of Garamond and Italics of Robert Granjon

10/12 pt

Garamond is one of the most versatile and attractive fonts avail-able. The letterforms use less ink than other similar faces making it one of the most eco friendly types to print

9/10 pt

Some unique characteristics in his letters are the small bowl of the a and the small eye of the e. Long extenders and top serifs have a downward slope.

Garamond ProREGULAR BOLD ITALIC BOLD-ITALIC

AaGaramondBookman

Centaur

GoudyTrajan


OLDSTYLETYPEFACE AND CLASSIFICATION

39

14/16 ptBookman was cre-ated by Alexander Phemister in 1858.

12/14 ptThe typeface is derivd from Old Style Antique

10/12 pt Obor sequis dolore dio conul-lut jkk ikdodogo dolupta tum-modolobore ffgh corperat, onsent nis trrrad duissitkk

9/10 ptOjik ksifhgkkn ksifun osifjfj oghsijfsdj jdsjflks-jdflk lskjdfklsjdfkjksdjf slkdfjlksjdfkljdsslkjlllllll

BookmanREGULAR BOLD ITALIC BOLD-ITALIC

AaGaramondBookman

Centaur

GoudyTrajan



40

14/16 ptWas created by Bruce Rogers in 1914 for the Metropolitan Museum of Art. The complete typeface was released in 1929

12/14 ptBased upof Renissance models, primarily Nicho-las Henson’s 1469 Eusebius which is considered the model of the modern Roman alphabet

10/12 ptOther influences are Francesco Griffo 1495 book called De Aetna written by Piero Bembo.

9/10 ptRogers later added the Roman lowercase and italic based upon Ludovico Arrighi’s 1520 chancery face, drawn by Frederic Warde.

Centaur REGULAR

AaGaramondBookman

Centaur

GoudyTrajan



41

14/16 ptThe typeface was originally created by Frederic W. Goudy

in 1915 for ATF.

12/14 ptGoudy is suitable for both text and display applications. It is a

graceful, balanced design.

10/12 ptIt is considered to be among the most legible and readable serif typ-faces for use in print applications

9/10 ptThe face was a best seller, prompting ATF to issue a spe-cial book of the series in 1927. Goudy had sold the design to ATF for fifteen-hundred dol-lars and recieved no royaltly. This caused their relationship

to deteriorate.

GoudyREGULAR BOLD ITALIC

AaGaramondBookman

Centaur

GoudyTrajan



42

14/16 ptThe typeface was designed in 1989 by Carol Twombly for Adobe.

12/14 ptTrajan Pro was in-troduced in 2001 to provide lowercase letters in the form

of small caps.

10/12 ptThe design is based on the letterforms of roman square capitals. These were used for the inscription at the base of Trahan’s Column - where the typeface gets its name.

9/10 pt since the inscription and its writing form manifests in only one case, Trjan is

an all-capitals typeface.

Trajan ProREGULAR BOLD

AaGaramondBookman

Centaur

GoudyTrajan


0123456789


CHAPT

ER 6

ABCDEFGHIJKLMNOPQRSTUVWXYZ0123456789ABCD EFGHIJKLMSANOPQRSTUVWXYZ0123456789ABCDEF GHIJKLMNOPQRSERIFGHIJKLMNOPQRSTUVWXYZABC 0123456789ABCDEFGEOMETRICDEFGHIJKLMNOPQ RSTUVWXYZ0123456789ABCDEFGHIJKLMNOPQRSTUVWXYZ0123456789ABCDEFGHIJKLMNOPQRSTUVWXYZ0123456789ABCDEFGHIJKLMNOPQRSTUVWXYZ0123456789ABCDEFGHIJKLMNOPQRSTUVW

Sans Serif Geometric typefaces have strong geomet-ric shapes, such as the perfect circle, or a rectangular form. Their strokes are usually monotone.History: x

heig

ht

counter

terminalserif

cap line

baseline

mean lineascenders

descendersarm

47

Bauhaus 93REGULAR

AaAgencyBauhaus 93

Bondoluo Peek

Century Gothic

TW Century


SAN SERIF GEOMETRICTYPEFACE AND CLASSIFICATION

14/16 ptThe Bauhaus typeface design is based on Herbert Bayer’s 1925.

12/14 ptThis is an example of what the font looks like in this size. Is it readable?

10/12 ptThis is an example of what the font looks like in this size. Is it readable? What do you think?

9/10 pt

This is an example of what the font looks like in this size. Is it readable? What do you think?

46

Agency FBR E G U L A R BOLD

AaAgencyBauhaus 93

Bondoluo Peek

Century Gothic

TW Century


S A N S E R I F G E O M E T R I CT Y P E F A C E A N D C L A S S I F I C A T I O N

14/16 ptWas designed in 1990 by David Berlow of

Font Bureau and Morris Fuller Benton.

12/14 ptThey typeface derived from ATF Agency Gothich, created in 1932. Berlow saw potential in the squared forms of the

narrow, monotone capitals.10/12 pt

He inhanced the design by introducing a lowercase and adding a bold to

create Agency FB.

9/10 ptIt is the main font used in the 2011 video game “Crysis 2” and again in 2012 for “Call

of Duty: Black Ops 2.”

49

Century GothicREGULAR BOLD ITALIC BOLD ITALIC

AaAgencyBauhaus 93

Bondoluo Peek

Century Gothic

TW Century



14/16 ptCentury Gothic is a geometric sans-serif typeface designed for Monotype Imag-




48

Bondoluo Peek

R E G U L A R

AAgencyBauhaus 93

Bondoluo Peek

Century Gothic

TW Century

SAN SERIF GEOMETRICTYPEFACE AND ClASSIFICATION

14/16 ptWas created by Alvro Thomaz in two-thousand and nine.>.

12/14 ptthis is an example of how the typface looks in this size. 10/12 pt

this is an example of how the typeface

looks in this size.

9/10 ptthis is an example of how the typeface looks in this size.

a b c d e f g h i j k l m no p q r s t u v w x y z

50

TW Century MTREGULAR BOLD ITALIC BOLD ITALIC

AaAgencyBauhaus 93

Bondoluo Peek

Century Gothic

TW Century



14/16 pt20th Century was de-signed by Sol Hess in the Lanston Monotype office between and 1947.



9/10 pt

This is an example of what the font looks like in this size. Is it readable? CH

APTER

7

ABCDEFGHIJKLMNOPQRSTVWXYZ0123456789ABCDEFGHIJKLM NOPQRSANOPQRSTUVWXYZ01 23456789RSERIFGHIJKLMNOPQ PQRSTUVWXGROTESQUEFGHI HIJKLMNOPQRSTUVWXYZ0123 456789ABCDEFGHIJKLMNOPQR STUVWXYZ0123456789ABCDEF

Sans Serif Grotesque contains typefaces without a serif, just like the Geometric. It is characterized by its simple and readable design.History: x

heig

ht

counter

terminalserif

cap line

baseline

mean lineascenders

descendersarm

55

ArialREGULAR BOLD ITALIC BOLD ITALIC

AaAmbrosia Demo

Arial

Arial Rounded

Franklin Gothic

Myriad Pro



14/16 ptWas designed by Robin Nicholas and Patricia Saunders in 1982


10/12 ptThis is an example of

what the font looks like in this size. Is it readable?


54

Ambrosia demo

REGULAR

AaAmbrosia Demo

Arial

Arial Rounded

Franklin Gothic

Myriad Pro

SAN SERIF GROTESQUETYPEFACE AND CLASSIFICATION

14/16 ptWas created by Tjarda Koster and

released in 2006

.

12/14 ptThis is an example of how the

typface looks in this size.

10/12 pt This is an example of how the

typeface looks in this size.



A a B bC cDd E e F f G gH h I i J j K k L lMmNnOo

PpQqR r S sT t U uVvwXxYy Z z 0 1 2 3456 789

57

Franklin GothicREGULAR ITALIC

AaAmbrosia Demo

Arial

Arial Rounded

Franklin Gothic

Myriad Pro



14/16 ptWas designed by Morris Fuller Benton in 1902


10/12 ptThis is an example of what the font looks like in this

size. Is it readable?


56

Arial Rounded

REGULAR

AaAmbrosia Demo

Arial

Arial Rounded

Franklin Gothic

Myriad Pro

SAN SERIF GROTESQUETYPEFACE AND CLASSIFICATION

14/16 ptWas designed by Robin Nicholas and Patricia Saun-ders in 1982.

12/14 ptThis is an example of how the typface looks in this size. 10/12 pt

This is an example of how the typeface looks

in this size.

9/10 ptThis is an example of how the typeface looks in this size.

A a B b C c D d E e F f G g H h I i J j K k L l M m N n O oP p Q q R r S s T t U u V v w X x Y y Z z 0 1 2 3 4 5 6 7 8 9

57

Myriad ProREGULAR BOLD ITALIC BOLD ITALIC

AaAmbrosia Demo

Arial

Arial Rounded

Franklin Gothic

Myriad Pro


SAN SERIF GEOMETRICT YPEFACE AND ClASSIFICATION

14/16 ptWas designed by designed by Robert Slimbach and Carol Twombly in 1990.


10/12 ptThis is an example of what the font looks like in this

size. Is it readable?

9/10 pt

This is an example of what the font looks like in this size. Is it readable? CH

APTER

8

ABCDEFGHIJKLMNOPQRSTVWXYZ0123456789ABCDEFGHIJKLMNOPQRSTUVWXYZABCDPQRSCRIPTUVWXYZ01234523456789ABCDEFGHIJKLMNOPQRSTUVWXYZ0123456789ABCDEFGHIJKLMNOPQRSTUVWXYZ0123456789ABCDEFGHIJKLMNOPQRSTUVWXYZ0123456789ABCDEFGHIJKLMNOPQRSTUVWXYZ012345678

Script typefaces derive from imitative of handwrit-ing or calligraphy designs. This includes a variety of styles and characteristics that are much more fluid than traditional type styles.

History: x he

ight

counter

terminalserif

cap line

baseline

mean lineascenders

descendersarm

63

Coneria Script REGULARAaBRUSH SCRIPT

Coneria ScriptEdwardian Script

French ScriptVladimir Script

SCRIPTTYPEFACE AND ClASSIFICATION

14/16 ptWas designed in 2012 by Måns Grebäck. It first appeared on Dafont.com in May..

12/14 ptThis is an example of how the typface looks in this size. 10/12 pt

This is an example of how the typeface looks in this size.

9/10 ptThis is an example of how the typeface looks in this size.

AaBbCcDdEeF fGgHhI iJ jKkL lMmNnOoPpQqRrSsT tUuVvwXxYyZz0 1 2345 6 789

62

Brush Script ITALIC

AaBRUSH SCRIPT




14/16 ptWas designed in 1942 by Robert E. Smith for the American Type Founders..

12/14 ptThis is an example of how the typface looks in this size.

10/12 pt This is an example of how the type-

face looks in this size.




65

French Script

REGULAR

AaBRUSH SCRIPT



SCRIPTTYPEFACE AND CLASSIFICATION

14/16 ptFrench Script, Monotype Type Drawing Office 1989. Is a reproduction of the common French scripts of the nineteenth century. Cut by Stephenson Blake in 1905.

12/14 ptThis is an example of how the typface looks in this size. It is too small for this screen and would work better with designs for print.

10/12 pt This is an example of how the typeface looks in this size. It is too small to read on this screen. This font would not be

good for screen designs.9/10 pt

This is an example of how the typeface looks in this size. It is too small to read on this screen. This font would be better for

invitations and stationary.


64

Edwardian ScriptR E G U L A R

AaBRUSH SCRIPT




14/16 ptWas designed by Edward Benguiat. Its appearance was influenced by the look of writing with a steel point pen.

12/14 ptThis is an example of how the typface looks in this size. What fo you think?

10/12 pt This is an example of how the typeface looks

in this size. This schript is too small.

9/10 ptThis is an example of how the typeface looks in this size. This script is too small for size.


66

Vladimir Script

REGULAR

AaBRUSH SCRIPT




14/16 ptThis typeface was created byVladimir Andrich & appeared onDafont.com in 2009

12/14 ptThis is an example of how the typface looks in this size. It is too small for this screen and would work better with designs for print.

10/12 pt This is an example of how the typeface looks in this size. It is too small to read on this screen. This font would not be good for screen

9/10 ptThis is an example of how the typeface looks in this size. It is too small to read on this screen. This font would be better for invitations and stationary.


CHAPT

ER 9

ABCDEFGHIJKLMNOPQRSTVWXYZ01233456789ABCDEFGHIJKLMNOPQRSTUVWXYZABCDPQRSLABSERIFGHIJKLMNOP23456789ABCDEFGHIJKLMNOPQRSTUVWXYZ0123456789ABCDEFGHIJKLMNOPQRSTUVWXYZ0123456789ABCDEFGHIJKLMNOPQRSTUVWXYZ0123456789ABCDEFGHIJKLMNOPQRSTUVWXYZ012345678

Slab serif typefaces are an early nineteenth century style. These typefaces have very squared serifs and little to no bracketing. They are often geometric or square in style.

History: x he

ight

counter

terminalserif

cap line

baseline

mean lineascenders

descendersarm

71

CourierREGULAR BOLD ITALIC BOLD ITALICAaConsolas

CourierLucida Bright

Lucida Fax

Rockwell


SLABSERIFTYPEFACE AND CLASSIFICATION

14/16 ptThe typeface was designed by Howard “Bud” Kettler in 1955

12/14 ptThis is an example of how the typeface looks in this size. Notice how readable it is for the

10/12 ptThis is an example of how the typeface looks in this point size.

9/10 ptThis is an exam-ple of how the typeface looks in this point size.

70

ConsolasREGULAR BOLD ITALIC BOLD ITALIC

AaConsolasCourierLucida Bright

Lucida Fax

Rockwell



14/16 ptConsolas is a monospaced typeface, designed by Luc(as) de Groot.

12/14 ptThis is an example of how the typeface looks in this size. Notice how readable it is for the viewer.

10/12 ptThis is an example of how the typeface looks in this point size.

9/10 ptThis is an example of how the type-face looks in this point size.

73

Lucida Fax



Lucida Fax

Rockwell



14/16 ptLucida family was designed by Charles Bigelow and Kris Holmes in 1985.

12/14 ptThis typeface was released in 1992, Lucida Fax was designed for telefaxing.

10/12 ptThis is an example of how the typeface looks in this point size. It’s readable!

9/10 ptThis is an example of how the typeface looks in this point size. It’s readable!

72

Lucida Bright



Lucida Fax

Rockwell



14/16 ptLucida family was designed by Charles Bigelow and Kris Holmes in 1985.

12/14 ptThe tightness of the font makes it perfect for a two or three column layout.

10/12 ptThis is an example of how the typeface looks in this point size. It is still readable.

9/10 ptThis is an example of how the typeface looks in this point size. It is fairly read-able for viewers.

74

RockwellREGULAR BOLD ITALIC BOLD ITALIC


Lucida Fax

Rockwell



14/16 ptThe typeface was designed at the Monotype foundry’s in-house design studio in 1934.

12/14 ptThe project was super-vised by Frank Hinman Pierpont.


9/10 ptThis is an example of how the typeface looks in this point size. It is fairly readable for viewers. CH

APTER 1

0

ABCDEFGHIJKLMNOPQRSTVWX YZ0123456789ABCDEFGHIJKLMNO NOPQRSTRANSITIONALMNOPQR RSTUVWXYZ0123456789ABCDEFG HIJKLMNOPQRSTUVWXYZ012345 6789ABCDEFGHIJKLMNOPQRSTU VWXYZ0123456789ABCDEFGHIJKL MNOPQRSTUVWXYZ0123456789AB

Transitional typefaces represent the eighteenth cen-tury trnasition between oldstyle and modern design. The axis of their curved stroke is vertical instead of diagonal and there is a contrast between thick and thin strokes. The serifs are thinner, flat, & brackated.

History: x he

ight

counter

terminalserif

cap line

baseline

mean lineascenders

descendersarm

79

Bell MTREGULAR BOLD ITALIC

AaBaskervilleBell MTNueva

Perpetua

Times New Roman


TRANSITIONALTYPEFACE AND CLASSIFICATION

14/16 ptBell was designed in 1788 by Richard Austin and considered an early example of the Scotch Roman style.

12/14 ptThis is an example of how the typeface looks in this point size. It is clear and readable from far away.

10/12 ptThis is an example of how the typeface looks in this point size. It is clear and readable from afar.


78

BaskervilleREGULARAaBaskerville

Bell MTNueva

Perpetua

Times New Roman



14/16 ptBaskerville was designed in 1757 by John Baskerville in Birmingham, England.

12/14 ptIt is positioned between the old style typefaces of William Caslon, & newer styles of Giambattista Bodoni & Firmin Didot


9/10 ptThis is an example of how the typeface looks in this point size. It is fairly readable for viewers.

81

PerpetuaREGULAR BOLD ITALIC BOLD ITALIC


Perpetua

Times New Roman



14/16 ptPerpetua was designed by English sculptor and typeface designer Eric Gill in 1929.

12/14 ptThis is an example of how the typeface looks in this point size. It is clear and readable from far away.



80

Nueva StdCONDENSED CONDENSED-ITALIC ITALIC

BOLD-CONDENSED-ITALIC BOLD


Perpetua

Times New Roman


TRANSITIONALT Y P E F A C E A N D C L A S S I F I C A T I O N

14/16 ptNueva was designed by Carol Twombly in 1994. It was originally designed as a potential lowercase compan-ion to her 1990 titling typeface Charlemagne.

12/14 pt

This is an example of how the typeface looks in this size. The condensed potion of this font makes it a little harder to see. However it would be useful in a three column design.

10/12 ptThis is an example of how the type-face looks in this point size. Because it is condensed, the typeface gets harder to read the smaller the size.

9/10 ptThis is an example of how the typeface looks in this point size. This typeface would be ideal in layouts that do not have much information and would allow a larger point size.

81

Times New Roman

REGULAR BOLD ITALIC BOLD ITALICAaBaskerville

Bell MTNueva

Perpetua

Times New Roman



14/16 ptIt was commissioned by the British newspaper The Times and created by Victor Lardent at the English branch of Monotype in 1931.

12/14 ptIt was commissioned by the British news paper The Times It was commissioned after Stanley Morison Morison had written an article criticizing the newspaper for its bad typography.



THE E

ND!

nopqrstuvwxy z0123456789abc defghijklmnop...

Documents