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ABCDEFGHIJKLM NOPQRSTUVWXY Z0123456789ABC DEFGHIJKLMNOP GHIJKLMYZ01234 567ABCDEFGHIJ RSTYPEBOOKLM NOPQRSTUVWXY Z0123456789ABC DEFGHIJKLMNOP QRSTUVWXYZ012 DISPLAY: 05 HANDWRITING: 13 HUMANIST: 21 MODERN: 29 OLDSTYLE: 37 SAN SERIF GEOMETRIC: 45 SAN SERIF GROTESQUE 53 SCRIPT: 61 SLAB SERIF: 69 TRADITIONAL: 77 CHAPTER 1 TABLE OF CONTENTS ABCDEFGHIJKLMNOPQRSTUVWX YZ0123456789ABCEDFGHIJKLMN OPQRSTABCDISPLAYZ012345678 9ABCDEFGHIJKLMNOPQRSTUVWX YZ0123456789ABCDEFGHIJKLMN OPQRSTUVWXYZ0123456789ABC mean line Histor y: baseline arm serif counter terminal x height ascenders cap line descenders 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. DISPL AY D ISPLAY TYPEFACE AND CLASSIFICATION TYPEFACE AND CLASSIFICATION AaBbCcDdEeFfGgHhIiJjKkLlMmNn OoPpQqRrSsTtUuVvWwXxYyZz 0123456789 abcdefghijklmnop qrstuvwxyz0123456789 Broadway Castellar Copperplate Aa Impact Stencil Broadway Castellar Copperplate A Impact Stencil REGULAR REGULAR Broadway Castellar 12/14 pt with a sophisticated And 10/12 pt shaded look, this typface Oborrgh sequisd is best used in larger sizes 12/14 pt Lowercase was introduced 10/12 pt in 1929 as a montotype by Obor sequis dolore dio conullut dolupta tumSol Hess. 14/16 pt Originally designed by Morris Fuller Benton in 1927 for ATF only as capitals modo lobore corperat, onsent nis ad duissit 9/10 pt Obor sequis dolore dio conullut dolupta tummodo lobore corperat, onsent nis ad duissit 06 14/16 pt Designed by John Peters in 1957 lore dio conul lutffff dolupta tummodofff lo boreff corperat, onsent nis ad dui 07 9/10 pt oborrhj jjklmiu hjdddd ii jkmn jj dfhjj ihjj dnbuy fjuhgkik no you nhjuf; jfjfj ikju kdo ljdnnvkviv DISPL AY DISPL AY TYPEFACE AND CLASSIFICATION TYPEFACE AND CLASSIFICATION AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPp QqRrSsTtUuVvWwXxYyZz0123456789 AaBbCcDdEeFfGgHhIiJjKkLlMmNnOo PpQqRrSsTtUuVvWwXxYyZz0123456789 Broadway Castellar Copperplate Aa Impact Stencil 14/16 pt Designed by Frederic Goudy and released by American Type Founders in 1901 08 A Impact Stencil REGULAR Copperplate 10/12 pt most often used in stationery, and etched into glass doors of banks, restaurants, and law offices. Castellar Copperplate REGULAR 12/14 pt defined by small glyphic serifs that emphasize the blunt terminus strokes. Broadway 9/10 pt The stone carving glyphs leave a crisp impression; making it ideal for offset printing. Impact 12/14 pt Characteristics include its ultra-thick strokes, compressed letterspacing, and short ascenders and descenders. 14/16 pt Designed by Geoffrey Lee in 1965 and released by the Stephenson Blake foundry. 09 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 pt The mid-1960s marked the height of a fashion for bold condensed faces. Impact is aimed to “impact” and hold the viewer’s attention immediately. TYPEFACE AND CLASSIFICATION ABCDEFGHIJKLMNOP QRSTUVWXYZ0123456789 Broadway Castellar Copperplate A Impact Stencil REGULAR Stencil 12/14 pt R. Huneter Middleton cre10/12 pt ated in in June for Luflow. Characteristics Gerry Powell created his include rounded edges and thick version in July for ATF 14/16 pt Stencil refers to two typefaces that were both released in 1937 main strokes,with breaks in the face to give it the Stencil appearance used on boxes and crates. 10 9/10 pt a common font for army-themed displays such as The A-Team and M*A*S*H television series. It is also used in the logo for The Home Depot. CHAPTER 2 DISPLAY ABCDEFGHIJKLMNOPQRSTUVWX YZ0123456789ABCEDFGHIJKLMN BCDEFGHANDWRITINGHIJKLMNO PQRSTUVWXYZ0123456789ABCD EFGHIJKLMNOPQRSTUVWXYZ01 23456789ABCDEFGHIJKLMNOPQ RSTUVWXYZ0123456789ABCDE FGHIJKLMNOPQRSTUVWXYZ0123 mean line Histor y: baseline arm serif counter terminal x height ascenders cap line descenders Handwriting is an interpretation from hand printed 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. HANDWRITING HANDWRITING TYPEFACE AND CLASSIFICATION TYPEFACE AND CLASSIFICATION AaBbCcDdEeFfGgHhIiJjKkLlMmNn OoPpQqRrSsTtUuVvWwXxYyZz 0123456789 AaBbCcDdEeFfGgHhIiJjKkLlMmNnOo PpQqRrSsTtUuVvwXxYyZz0123456789 Bradley Hand Comic Sans Harabarahand Aa Lucida Mistral 14/16 pt Was developed by Richard Bradley in collaboration with Colin Brignall and released for digital display in 1996 14 Aa Lucida Mistral REGULAR BOLD ITALIC BOLDITALIC Bradley Hand 10/12 pt This 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 Comic Sans Harabarahand REGULAR 12/14 pt Based on Richard Bradley’s own handwriting; it was originally developed for dry transfer lettering Bradley Hand 9/10 pt Bradley 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 Comic Sans 12/14 pt Classified as a casual, non-connecting script. It was designed to imitate the historical look of comic book lettering 14/16 pt Designed by Vincent Connare & released in 1994 by Micrsoft Corporation 15 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 pt Comic Sans Pro was created in 2011. It added four fonts, extra symbols and dingbats HANDWRITING HANDWRITING TYPEFACE AND CLASSIFICATION TYPEFACE AND CLASSIFICATION AaBbCcDdEeFfGgHhIiJjKkLlMmNnOo PpQqRrSsTtUuVvWwXxYyZz 0123456789 AaBbCcDdEeFfGgHhIiJjKkLlMm NnOoPpQqRrSsTtUuVvWwXxYyZz 0123456789 Bradley Hand Comic Sans Harabarahand Aa Lucida Mistral 14/16 pt The typeface was designed by Andre Harabara in September 2009 16 Aa Lucida Mistral ITALIC Harabarahand dafont.com and has since been downloaded 153,609 times by various users. Comic Sans Harabarahand ITALIC 12/14 pt This is a hand drawn 10/12 pt classification. It is a The typeface was uploaded to free font websties such as casual typeface. Bradley Hand 9/10 pt The font is available in other languages: Albanian, Basque, Breton, Chamorro, English, Frisian, Galician, Italian, Malagasy, and Portuguese. Lucida Hand 12/14 pt Was designed to resemble informal cursive handwriting. derived from the cursive block 14/16 pt Lucida family was designed by Charles Bigelow and Kris Holmes in 1985 17 10/12 pt Used for signs, posters, menus, and to portray 9/10 pt an antique look Is a tightly fitten design that needs enough line spacing so that ascenders and descenders dont collide TYPEFACE AND CLASSIFICATION AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPp QqRrSsTtUuVvWwXxYyZz0123456789 Bradley Hand Comic Sans Harabarahand Aa Lucida Mistral REGULAR Mistral 12/14 pt The form is based on his own handwriting. The stoke has an informal graphic quality that is similar to an ink brush. 14/16 pt Designed by Roger Excoffon for the Fonderie Olive type Foundry in 1953 10/12 pt The lowercase letters are designed to connect on a line to an extent. Descenders are long and increase the sense of motion. 18 9/10 pt The face has several specially-designed ligatures. It is a true connecting script. CHAPTER 3 HANDWRITING ABCDEFGHIJKLMNOPQRSTUVWXYZ012 3456789ABCDEFGHIJKLMNOPQRSTUV WXYABCDEFGHUMANISTUVWXYZ0123 456789ABCDEFGHIJKLMNOPQRSTUVW XYZ0123456789ABCDEFGHIJKLMNOPQ RSTUVWXYZ0123456789ABCDEFGHIJK LMNOPQRSTUVWXYZ0123456789ABC DEFGHIJKLMNOPQRSTUVWXYZ012345 mean line Histor y: baseline arm serif counter terminal x height ascenders cap line descenders 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. HUMANIST HUMANIST Aa AaBbCcDdEeFfGgHhIiJjKkLlMmNnOo PpQqRrSsTtUuVvWwXxYyZz0123456789 TYPEFACE AND CLASSIFICATION AaBbCcDdEeFfGgHhIiJjKkLlMmNnOo PpQqRrSsTtUuVvWwXxYyZz0123456789 Calibri Gill Sans Myriad Tahoma Verdana TYPEFACE AND CLASSIFICATION Calibri Gill Sans Myriad Aa Tahoma Verdana REGULAR BOLD ITALIC BOLD ITALIC REGULAR BOLD ITALIC BOLD ITALIC Calibri Gill Sans 12/14 pt Calibri is a humanist sans serif typeface family under the Microsoft Clear Type Font Collection. 14/16 pt Was designed by Lucas de Groot for Microsoft in 2004. 10/12 pt Characteristics are the subtly ounded stems and corners. The typeface includes characters from Latin, Greel, and Cyrillic scripts. 22 9/10 pt Calibri is the default in Microsoft programs such as Excel, PowerPoint, Word, and WorkPad. 12/14 pt The original design appeared 10/12 pt Gill further developed it into a in 1926 when Gill painted complete font family after bethe font over a friends ing commissioned by Stanley bookshop window 14/16 pt Was designed by Eric Gill in 1928. It was designed to funchtion well as a text face and display Morison. Morison wanted the typeface to combat the families of Erbar, Futura and Kabel that were being launched in Germany 1920s 23 9/10 pt The typeface became popular in 1929 when Cecil Dandridge commissioned Eric Gill to use the typeface in the London and North Eastern Railway publicity materials. HUMANIST HUMANIST T YPEFACE AND CLASSIFICATION TYPEFACE AND CLASSIFICATION AaBbCcDdEeFfGgHhIiJjKkLlMmNnOo PpQqRrSsTtUuVvWwXxYyZz0123456789 AaBbCcDdEeFfGgHhIiJjKkLlMmNnOo PpQqRrSsTtUuVvWwXxYyZz0123456789 Calibri Gill Sans Myriad Aa Tahoma Verdana Calibri Gill Sans Myriad Aa REGULAR BOLD ITALIC BOLD ITALIC REGULAR BOLD Myriad Pro Tahoma 12/14 pt Characteristics include its special “y” descender and slanting “e” cut. 10/12 pt The typeface is best known for its usage by Apple Inc., becoming Apple’s corporate font since 2002. 14/16 pt Was designed by Robert Slimbach and Carol Twombly for Adobe Systems in 1991. 24 9/10 pt Myrian is also used in corporate identities of Wells Fargo, Walmart, Modern Telegraph, and Rolls Royce. 12/14 pt Characteristics include narrow body, less generous counters, and tight letter spacing. 14/16 pt Was designed by Matthew Carter in 1994 for Microsoft. Tahoma Verdana 10/12 pt It has a distinct advantage over fonts like Arial for use with technical material. For example the uppercase “I” is easily distinguished from lowercase “l”. 25 9/10 pt Tahoma typeface family was named after the Native Americans who were named for the stratvolcano Mount Rainier (Mount Tahoma). A prominent feature of the southern landscape around the Seattle metropolitan area. TYPEFACE AND CLASSIFICATION AaBbCcDdEeFfGgHhIiJjKkLlMmNnOo PpQqRrSsTtUuVvWwXxYyZz0123456789 Calibri Gill Sans Myriad Aa Tahoma Verdana REGULAR BOLD ITALIC BOLD ITALIC Verdana 10/12 pt 12/14 pt Was designed to be Hand-hinting was done by readable at small Thomas Rickner at Monotype screen sizes on a 14/16 pt Was designed by Matthew Carter in 1996 for Microsoft. computer. The lack of serifs, large x-height, wide proportions, and loose letter-spacing increase legibility 26 9/10 pt Characteristics 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 CHAPTER 4 HUMANIST ABCDEFGHIJKLMNOPQRSTUVWXY Z0123456789ABCDEFGHIJKLMNOPQ BCDEFGHIJKLMODERNOPQRSTUVW XYZ0123456789ABCDEFGHIJKLMNO PQRSTUVWXYZ0123456789ABCDE FGHIJKLMNOPQRSTUVWXYZ01234 56789ABCDEFGHIJKLMNOPQRSTUV WXYZ0123456789ABCDEFGHIJKLM mean line Histor y: baseline arm serif counter terminal x height ascenders cap line descenders Modern typefaces have a refined and more delicate style. They are characterizd by high contrast between thich and thin strokes, curved strokes on a vertical axis, and serifs that are horizonal with little to no bracketing. MODERN MODERN T Y P E FAC E A N D C L A S S I F I C AT I O N TYPEFACE AND CLASSIFICATION AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPp QqRrSsTtUuVvWwXxYyZz0123456789 AaBbCcDdEeFfGgHhIiJjKkLlMmNnOo PpQqRrSsTtUuVvWwXxYyZz0123456789 Aubrey Bodoni Elephant Aa Modern No. 20 Nouvelle Vague Aubrey Bodoni Elephant Aa Modern No. 20 Nouvelle Vague REGULAR REGULAR BOLD ITALIC BOLD ITALIC Aubrey Bodoni MT 12/14 pt Characterized by elements that are cut and swapped with sloped curves creating off beats in the overall rhythm. Spurs twist and stress the ovement 14/16 pt Aubrey is a condensed font with an art nouveau essence. It was designed by Gayaneh Bagdasaryan 30 12/14 pt Follows the ideas of John Baskerville who increased the stroke contrast of his typeface Baskerville. 10/12 pt Art Nouveau began in the late 1800s and remained dominant until World War I. It was popular in North America & Europe. 9/10 pt The typeface is a good choice for designing holiday decorations and greeting. It works best in medium sizes. 14/16 pt Was designed by Giambattista Bodoni in 1798. The typeface is claddified as a Didone modern. 10/12 pt Bodoni’s typeface design evolved and varied, ending with a narrower underlying structure with flat, bracketed serifs, extreme contrast betwen thick and thin strokes and a geometric construction. 31 9/10 pt Distinctive 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. MODERN MODERN TYPEFACE AND CLASSIFICATION TYPEFACE AND CLASSIFICATION AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPp QqRrSsTtUuVvWwXxYyZz0123456789 AaBbCcDdEeFfGgHhIiJjKkLlMmNnOo PpQqRrSsTtUuVvWwXxYyZz0123456789 Aubrey Bodoni Elephant Aa Modern No. 20 Nouvelle Vague Aubrey Bodoni Elephant 12/14 pt The typeface is a careful re-working of a traditional English extra-bold serif style. 10/12 pt It originaly appeared in posters, alternating from roman to italic on successive lines. 14/16 pt Elephant was designed in 1992 by Mattew Carter, one of the most praised type designers of today. 32 9/10 pt The typeface is best used to catch attention to a word. A single quote will draw the reader’s eye to its place. Nouvelle Vague REGULAR REGULAR ITALIC Elephant Aa Modern No. 20 Modern No. 20 12/14 pt Was later recreated & eventually digitized in the mid-1900s by Edouard Benguiat 14/16 pt Originally designed by the Stephenson Blake foundry in 1905 10/12 pt Considered a Didot modern font. Didont fonts are Neoclasical and Romantic in style, making the typeface and elegant display. 33 9/10 pt Characteristicly has hairline strokes, flat serifs, and more curves in the numeral set. TYPEFACE AND CLASSIFICATION AaBbCcDdEeFfGgHhIiJjKkLlMmNn OoPpQqRrSsTtUuVvWwXxYyZz12345 Aubrey Bodoni Elephant Aa Modern No. 20 Nouvelle Vague REGULAR Nouvelle Vague 12/14 pt It’s look is defines by a strady rhythm, that is broken by its off0 beat, uppercase initials. 14/16 pt Was created by Elena Alberto0 ni in 2011 for Anatoletype. 0 10/12 pt The typeface is directly inspired by french adver0 tising scripts from the fif0 ties, particuarly bu Roger Excoffons Mistral. 34 9/10 pt To accentu0 ate the french influence and reproduce their visual impace, simple struc0 tured connec0 tions between the letters are preferred CHAPTER 5 MODERN ABCDEFGHIJKLMNOPQRSTUV WXYZ0123456789ABCEDFGHIJK HIJKLMNOLDSTYLEFGHIJKLM NOPQRSTUVWXY0123456789A BCDEFGHIJKLMNOPQRSTUV WXYZ0123456789ABCDEFGH IJKLMNOPQRSTUVWXYZ0123 mean line Histor y: baseline arm serif counter terminal x height ascenders cap line descenders 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. OLDSTYLE OLDSTYLE TYPEFACE AND CLASSIFICATION TYPEFACE AND CLASSIFICATION AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPp QqRrSsTtUuVvWwXxYyZz0123456789 AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPp QqRrSsTtUuVvWwXxYyZz0123456789 Garamond Bookman Centaur Aa Goudy Trajan Garamond Bookman Centaur Aa Goudy Trajan REGULAR BOLD ITALIC BOLD-ITALIC REGULAR BOLD ITALIC BOLD-ITALIC Garamond Pro Bookman 12/14 pt Robert Slimbach created Adobe Garamond Pro in 1989. It is based on the Roman types of Garamond and Italics of Robert Granjon 14/16 pt The typeface was originally created by Claude Garamond in the year 1530 38 12/14 pt The typeface is derivd 10/12 pt from Old Style Antique Obor sequis dolore dio conul- 10/12 pt Garamond is one of the most versatile and attractive fonts available. 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. 14/16 pt Bookman was created by Alexander Phemister in 1858. lut jkk ikdodogo dolupta tummodolobore ffgh corperat, onsent nis trrrad duissitkk 39 9/10 pt Ojik ksifhgkkn ksifun osifjfj oghsijfsdj jdsjflksjdflk lskjdfklsjdfkjksdjf slkdfjlksjdfkljdsslkjlllllll OLDSTYLE OLDSTYLE TYPEFACE AND CLASSIFICATION TYPEFACE AND CLASSIFICATION AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPp QqRrSsTtUuVvWwXxYyZz0123456789 AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPp QqRrSsTtUuVvWwXxYyZz0123456789 Garamond Bookman Centaur Aa Goudy Trajan Garamond Bookman Centaur Aa Goudy Trajan REGULAR REGULAR BOLD ITALIC Centaur Goudy 12/14 pt Based upof Renissance models, primarily Nicholas Henson’s 1469 Eusebius which is considered 10/12 pt the model of the modern Roman alphabet Other influences are 14/16 pt Was created by Bruce Rogers in 1914 for the Metropolitan Museum of Art. The complete typeface was released in 1929 Francesco Griffo 1495 book called De Aetna written by Piero Bembo. 40 12/14 pt Goudy is suitable for both text and display applications. It is a graceful, balanced design. 9/10 pt Rogers later added the Roman lowercase and italic based upon Ludovico Arrighi’s 1520 chancery face, drawn by Frederic Warde. 14/16 pt The typeface was originally created by Frederic W. Goudy in 1915 for ATF. 10/12 pt It is considered to be among the most legible and readable serif typfaces for use in print applications 41 9/10 pt The face was a best seller, prompting ATF to issue a special book of the series in 1927. Goudy had sold the design to ATF for fifteen-hundred dollars and recieved no royaltly. This caused their relationship to deteriorate. TYPEFACE AND CLASSIFICATION AaBbCcDdEeFfGgHhIiJjKkLlMmNn OoPpQqRrSsTtUuVvWwXxYyZz 0123456789 Garamond Bookman Centaur Aa Goudy Trajan REGULAR BOLD Trajan Pro 12/14 pt Trajan Pro was introduced in 2001 to provide lowercase letters in the form of small caps. 14/16 pt The t ypeface was designed in 1989 by Carol Twombly for Adobe. 10/12 pt The 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. 42 9/10 pt since the inscription and its writing form manifests in only one case, Trjan is an all-capitals typeface. CHAPTER 6 OLDSTYLE ABCDEFGHIJKLMNOPQRSTUVWXYZ0123456789ABCD EFGHIJKLMSANOPQRSTUVWXYZ0123456789ABCDEF GHIJKLMNOPQRSERIFGHIJKLMNOPQRSTUVWXYZABC 0123456789ABCDEFGEOMETRICDEFGHIJKLMNOPQ RSTUVWXYZ0123456789ABCDEFGHIJKLMNOPQR STUVWXYZ0123456789ABCDEFGHIJKLMNOPQRST UVWXYZ0123456789ABCDEFGHIJKLMNOPQRSTUV WXYZ0123456789ABCDEFGHIJKLMNOPQRSTUVW mean line Histor y: baseline arm serif counter terminal x height ascenders cap line descenders Sans Serif Geometric typefaces have strong geometric shapes, such as the perfect circle, or a rectangular form. Their strokes are usually monotone. SAN SERIF GEOMETRIC SAN SERIF GEOMETRIC TYPEFACE AND CLASSIFICATION TYPEFACE AND CLASSIFICATION AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPp QqRrSsTtUuVvWwXxYyZz0123456789 AaBbCcDdEeFfGgHhIiJjKkLlMmNnOo PpQqRrSsTtUuVvWwXxYyZz0123456789 Agency Bauhaus 93 Bondoluo Peek Aa Century Gothic TW Century Agency Bauhaus 93 Bondoluo Peek REGULAR BOLD Agency FB 12/14 pt They typeface derived from ATF Agency Gothich, created in 1932. Berlow saw potential in the squared forms of the narrow, monotone capitals. 14/16 pt Was designed in 1990 by David Berlow of Font Bureau and Morris Fuller Benton. 10/12 pt He inhanced the design by introducing a lowercase and adding a bold to create Agency FB. 46 9/10 pt It is the main font used in the 2011 video game “Crysis 2” and again in 2012 for “Call of Duty: Black Ops 2.” Aa Century Gothic TW Century REGULAR Bauhaus 93 12/14 pt This is an example of what the font looks like in this size. Is it readable? 14/16 pt The Bauhaus typeface design is based on Herbert Bayer’s 1925. 10/12 pt This is an example of what the font looks like in this size. Is it readable? What do you think? 47 9/10 pt This is an example of what the font looks like in this size. Is it readable? What do you think? SAN SERIF GEOMETRIC TYPEFACE AND Cl ASSIFICATION a b c d e fg h ij k l m n o p q r s t u v w x y z Agency Bauhaus 93 Bondoluo Peek A Century Gothic TW Century SAN SERIF GEOMETRIC TYPEFACE AND CLASSIFICATION AaBbCcDdEeFfGgHhIiJjKkLlMmNnOo PpQqRrSsTtUuVvWwXxYyZz0123456789 Agency Bauhaus 93 Bondoluo Peek Aa Century Gothic TW Century REGULAR REGULAR BOLD ITALIC BOLD ITALIC Bondoluo Peek Century Gothic 12/14 pt this 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. 14/16 pt Was created by Alvro Thomaz in two-thousand and nine. > . 48 9/10 pt this is an example of how the typeface looks in this size. 12/14 pt This is an example of what the font looks like in this size. Is it readable? 14/16 pt Century Gothic is a geometric sans-serif typeface designed for Monotype Imag- 10/12 pt This is an example of what the font looks like in this size. Is it readable? What do you think? 49 9/10 pt This is an example of what the font looks like in this size. Is it readable? What do you think? TYPEFACE AND CLASSIFICATION AaBbCcDdEeFfGgHhIiJjKkLlMmNnOo PpQqRrSsTtUuVvWwXxYyZz0123456789 Agency Bauhaus 93 Bondoluo Peek Aa Century Gothic TW Century REGULAR BOLD ITALIC BOLD ITALIC TW Century MT 12/14 pt This is an example of what the font looks like in this size. Is it readable? 9/10 pt 10/12 pt 14/16 pt 20th Century was designed by Sol Hess in the Lanston Monotype office between and 1947. This is an example of what the font looks like in this size. Is it readable? 50 This is an example of what the font looks like in this size. Is it readable? CHAPTER 7 SAN SERIF GEOMETRIC ABCDEFGHIJKLMNOPQRSTVWX YZ0123456789ABCDEFGHIJKLM NOPQRSANOPQRSTUVWXYZ01 23456789RSERIFGHIJKLMNOPQ PQRSTUVWXGROTESQUEFGHI HIJKLMNOPQRSTUVWXYZ0123 456789ABCDEFGHIJKLMNOPQR STUVWXYZ0123456789ABCDEF mean line Histor y: baseline arm serif counter terminal x height ascenders cap line descenders Sans Serif Grotesque contains typefaces without a serif, just like the Geometric. It is characterized by its simple and readable design. SAN SERIF GROTESQUE TYPEFACE AND CLASSIFICATION AaBbCcDdEeFfGgHhIiJjKkLlMmNnOo PpQqRrSsTtUuVvwXxYyZz0123456789 Ambrosia Demo Arial Arial Rounded Aa Franklin Gothic Myriad Pro SAN SERIF GEOMETRIC TYPEFACE AND CLASSIFICATION AaBbCcDdEeFfGgHhIiJjKkLlMmNnOo PpQqRrSsTtUuVvWwXxYyZz0123456789 Ambrosia Demo Arial Arial Rounded Aa Franklin Gothic Myriad Pro REGULAR REGULAR BOLD ITALIC BOLD ITALIC Ambrosia demo Arial 12/14 pt This 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. 14/16 pt Was created by Tjarda Koster and released in 2006 . 9/10 pt This is an example of how the typeface looks in this size. 54 12/14 pt This is an example of what the font looks like in this size. Is it readable? 14/16 pt Was designed by Robin Nicholas and Patricia Saunders in 1982 10/12 pt 9/10 pt This is an example of This is an example of what the font looks like in what the font looks this size. Is it readable? like in this size. Is it readable? What do you think? 55 SAN SERIF GROTESQUE TYPEFACE AND CLASSIFICATION AaBbCcDdEeFfGgHhIiJjKkLlMmNnOo PpQqRrSsTtUuVvwXxYyZz0123456789 Ambrosia Demo Arial Arial Rounded Aa Franklin Gothic Myriad Pro SAN SERIF GEOMETRIC T YPEFACE AND CLASSIFICATION AaBbCcDdEeFfGgHhIiJjKkLlMmNnOo PpQqRrSsTtUuVvWwXxYyZz0123456789 Ambrosia Demo Arial Arial Rounded Aa Franklin Gothic Myriad Pro R E G U LA R REGULAR ITALIC Arial Rounded Franklin Gothic 12/14 pt This is an example of how the typface looks in this size. 14/16 pt Was designed by Robin Nicholas and Patricia Saunders in 1982 . 10/12 pt This is an example of how the typeface looks in this size. 9/10 pt This is an example of how the typeface looks in this size. 56 12/14 pt This is an example of what the font looks like in this size. Is it readable? 9/10 pt 10/12 pt 14/16 pt Was designed by Morris Fuller Benton in 1902 This is an example of what the font looks like in this size. Is it readable? This is an example of what the font looks like in this size. Is it readable? 57 T YPEFACE AND ClASSIFICATION AaBbCcDdEeFfGgHhIiJjKkLlMmNnOo PpQqRrSsTtUuVvWwXxYyZz0123456789 Ambrosia Demo Arial Arial Rounded Aa Franklin Gothic Myriad Pro REGULAR BOLD ITALIC BOLD ITALIC Myriad Pro 12/14 pt This is an example of what the font looks like in this size. Is it readable? 14/16 pt Was designed by designed by Robert Slimbach and Carol Twombly in 1990. 9/10 pt 10/12 pt This is an example of what the font looks like in this size. Is it readable? This is an example of what the font looks like in this size. Is it readable? 57 CHAPTER 8 SAN SERIF GEOMETRIC ABCDEFGHIJKLMNOPQRSTVWXYZ012 3456789ABCDEFGHIJKLMNOPQRSTUV WXYZABCDPQRSCRIPTUVWXYZ012345 23456789ABCDEFGHIJKLMNOPQRSTU VWXYZ0123456789ABCDEFGHIJKLMNOP QRSTUVWXYZ0123456789ABCDEFGHIJK LMNOPQRSTUVWXYZ0123456789ABCDE FGHIJKLMNOPQRSTUVWXYZ012345678 mean line Histor y: baseline arm serif counter terminal x height ascenders cap line descenders Script typefaces derive from imitative of handwriting or calligraphy designs. This includes a variety of styles and characteristics that are much more fluid than traditional type styles. SCRIPT TYPEFACE AND ClASSIFICATION AaBbCcDdEeFfGgHhIiJjKkLlMmNnOo PpQqRrSsTtUuVvwXxYyZz0123456789 BRUSH SCRIPT Coneria Script Edwardian Script Aa French Script Vladimir Script SCRIPT TYPEFACE AND ClASSIFICATION AaBbCcDdEeFfGgHhIiJjKkLlMmNnOo PpQqRrSsTtUuVvwXxYyZz0123456789 BRUSH SCRIPT Coneria Script Edwardian Script Aa French Script Vladimir Script ITALIC REGULAR Brush Script Coneria Script 12/14 pt This 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. 14/16 pt Was designed in 1942 by Robert E. Smith for the American Type Founders. . 9/10 pt This is an example of how the typeface looks in this size. 62 12/14 pt This is an example of how the typface looks in this size. 14/16 pt Was designed in 2012 by Måns Grebäck. It first appeared on Dafont.com in May. . 10/12 pt This is an example of how the typeface looks in this size. 9/10 pt This is an example of how the typeface looks in this size. 63 SCRIPT TYPEFACE AND ClASSIFICATION AaBbCcDdEeFfGgHhIiJjKkLlMmNnOo PpQqRrSsTtUuVvwXxYyZz0123456789 BRUSH SCRIPT Coneria Script Edwardian Script Aa French Script Vladimir Script SCRIPT TYPEFACE AND CLASSIFICATION AaBbCcDdEeFfGgHhIiJjKkLlMmNnOo PpQqRrSsTtUuVvwXxYyZz0123456789 BRUSH SCRIPT Coneria Script Edwardian Script Aa French Script Vladimir Script REGULAR REGULAR Edwardian Script French Script 12/14 pt This 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. 14/16 pt Was designed by Edward Benguiat. Its appearance was influenced by the look of writing with a steel point pen . 9/10 pt This is an example of how the typeface looks in this size. This script is too small for size. 64 12/14 pt This 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. 14/16 pt French Script, Monotype Type Drawing Office 1989. Is a reproduction of the common French scripts of the nineteenth century. Cut by Stephenson Blake in 1905. 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. 65 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. TYPEFACE AND ClASSIFICATION AaBbCcDdEeFfGgHhIiJjKkLlMmNnOo PpQqRrSsTtUuVvwXxYyZz0123456789 BRUSH SCRIPT Coneria Script Edwardian Script Aa French Script Vladimir Script REGULAR Vladimir Script 12/14 pt This 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. 14/16 pt This typeface was created byVladimir Andrich & appeared onDafont.com in 2009 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 66 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. CHAPTER 9 SCRIPT ABCDEFGHIJKLMNOPQRSTVWXYZ0123 3456789ABCDEFGHIJKLMNOPQRSTUV WXYZABCDPQRSLABSERIFGHIJKLMNOP 23456789ABCDEFGHIJKLMNOPQRSTU VWXYZ0123456789ABCDEFGHIJKLMNO QRSTUVWXYZ0123456789ABCDEFGHIJ LMNOPQRSTUVWXYZ0123456789ABCDE FGHIJKLMNOPQRSTUVWXYZ012345678 mean line Histor y: baseline arm serif counter terminal x height ascenders cap line descenders 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. SLABSERIF SLABSERIF TYPEFACE AND CLASSIFICATION TYPEFACE AND CLASSIFICATION AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPp QqRrSsTtUuVvWwXxYyZz0123456789 AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPp QqRrSsTtUuVvWwXxYyZz0123456789 Consolas Courier Consolas Courier Lucida Bright Aa Lucida Fax Rockwell Lucida Bright Aa Lucida Fax Rockwell REGULAR BOLD ITALIC BOLD ITALIC REGULAR BOLD ITALIC BOLD ITALIC Consolas Courier 12/14 pt This is an example of how the typeface looks in this size. Notice how readable it is for the viewer. 14/16 pt Consolas is a monospaced typeface, designed by Luc(as) de Groot. 70 10/12 pt This is an example of how the typeface looks in this point size. 9/10 pt This is an example of how the typeface looks in this point size. 12/14 pt This is an example of how the typeface looks in this size. Notice how readable it is for the 14/16 pt The typeface was designed by Howard “Bud” Kettler in 1955 71 10/12 pt This is an example of how the typeface looks in this point size. 9/10 pt This is an example of how the typeface looks in this point size. SLABSERIF SLABSERIF TYPEFACE AND CLASSIFICATION TYPEFACE AND CLASSIFICATION AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPp QqRrSsTtUuVvWwXxYyZz0123456789 AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPp QqRrSsTtUuVvWwXxYyZz0123456789 Consolas Courier Lucida Bright Aa Lucida Fax Rockwell Consolas Courier Lucida Bright Aa Lucida Fax Rockwell REGULAR BOLD ITALIC BOLD ITALIC REGULAR BOLD ITALIC BOLD ITALIC Lucida Bright Lucida Fax 12/14 pt The tightness of the font makes it perfect for a two or three column layout. 14/16 pt Lucida family was designed by Charles Bigelow and Kris Holmes in 1985. 72 10/12 pt This is an example of how the typeface looks in this point size. It is still readable. 9/10 pt This is an example of how the typeface looks in this point size. It is fairly readable for viewers. 12/14 pt This typeface was released in 1992, Lucida Fax was designed for telefaxing. 14/16 pt Lucida family was designed by Charles Bigelow and Kris Holmes in 1985. 73 10/12 pt This is an example of how the typeface looks in this point size. It’s readable! 9/10 pt This is an example of how the typeface looks in this point size. It’s readable! TYPEFACE AND CLASSIFICATION AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPp QqRrSsTtUuVvWwXxYyZz0123456789 Consolas Courier Lucida Bright Aa Lucida Fax Rockwell REGULAR BOLD ITALIC BOLD ITALIC Rockwell 12/14 pt The project was supervised by Frank Hinman Pierpont. 14/16 pt The typeface was designed at the Monotype foundry’s in-house design studio in 1934. 74 10/12 pt This is an example of how the typeface looks in this point size. It is still readable. 9/10 pt This is an example of how the typeface looks in this point size. It is fairly readable for viewers. CHAPTER 10 SLABSERIF ABCDEFGHIJKLMNOPQRSTVWX YZ0123456789ABCDEFGHIJKLMNO NOPQRSTRANSITIONALMNOPQR RSTUVWXYZ0123456789ABCDEFG HIJKLMNOPQRSTUVWXYZ012345 6789ABCDEFGHIJKLMNOPQRSTU VWXYZ0123456789ABCDEFGHIJKL MNOPQRSTUVWXYZ0123456789AB mean line Histor y: baseline arm serif counter terminal x height ascenders cap line descenders Transitional typefaces represent the eighteenth century 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. TRANSITIONAL TRANSITIONAL TYPEFACE AND CLASSIFICATION TYPEFACE AND CLASSIFICATION AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPp QqRrSsTtUuVvWwXxYyZz0123456789 AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPp QqRrSsTtUuVvWwXxYyZz0123456789 Baskerville Bell MT Nueva Aa Perpetua Times New Roman Baskerville Bell MT Nueva Aa Perpetua Times New Roman REGULAR REGULAR BOLD ITALIC Baskerville Bell MT 12/14 pt It is positioned between the old style typefaces of William Caslon, & newer styles of Giambattista Bodoni & Firmin Didot 14/16 pt Baskerville was designed in 1757 by John Baskerville in Birmingham, England. 78 10/12 pt This is an example of how the typeface looks in this point size. It is still readable. 9/10 pt This is an example of how the typeface looks in this point size. It is fairly readable for viewers. 12/14 pt This is an example of how the typeface looks in this point size. It is clear and readable from far away. 14/16 pt Bell was designed in 1788 by Richard Austin and considered an early example of the Scotch Roman style. 79 10/12 pt This is an example of how the typeface looks in this point size. It is clear and readable from afar. 9/10 pt This is an example of how the typeface looks in this point size. It is clear and readable from afar. TRANSITIONAL T Y PEFACE AND CL A SSIFIC ATION AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPp QqRrSsTtUuVvWwXxYyZz0123456789 Baskerville Bell MT Nueva Aa Perpetua Times New Roman CONDENSED CONDENSED-ITALIC ITALIC BOLD-CONDENSED-ITALIC BOLD Nueva Std 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. 14/16 pt Nueva was designed by Carol Twombly in 1994. It was originally designed as a potential lowercase companion to her 1990 titling typeface Charlemagne. 80 10/12 pt This is an example of how the typeface looks in this point size. Because it is condensed, the typeface gets harder to read the smaller the size. 9/10 pt This 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. TRANSITIONAL TYPEFACE AND CLASSIFICATION AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPp QqRrSsTtUuVvWwXxYyZz0123456789 Baskerville Bell MT Nueva Aa Perpetua Times New Roman REGULAR BOLD ITALIC BOLD ITALIC Perpetua 12/14 pt This is an example of how the typeface looks in this point size. It is clear and readable from far away. 14/16 pt Perpetua was designed by English sculptor and typeface designer Eric Gill in 1929. 81 10/12 pt This is an example of how the typeface looks in this point size. It is clear and readable from afar. 9/10 pt This is an example of how the typeface looks in this point size. It is clear and readable from afar. TYPEFACE AND CLASSIFICATION AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPp QqRrSsTtUuVvWwXxYyZz0123456789 Baskerville Bell MT Nueva Aa Perpetua Times New Roman REGULAR BOLD ITALIC BOLD ITALIC Times New Roman 12/14 pt It 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. 10/12 pt This is an example of how the typeface looks in this point size. It is clear and readable from afar. 14/16 pt It was commissioned by the British newspaper The Times and created by Victor Lardent at the English branch of Monotype in 1931. 81 9/10 pt This is an example of how the typeface looks in this point size. It is clear and readable from afar. THE END! TRANSITIONAL
