973 Ee 485 F 58 CB 1624644

Contents Serif San Serif
1 Baskerville 9 Minion 13 Akzidenz Grotesk Bold 21 Meta

John Baskerville . 1757 Robert Slimbach . 1989 H Berthold AG . 1898 Erik Spiekermann . 1985
2 Bembo 10 Serifa 14 Frutiger 22 DIN

Francesco Griffo . 1455 Horst Heiderhoff & Adrian Adrian Frutiger . 1976 Deutsches Institut
Frutiger . 1957 für Normung
3 Berthold City 15 Futura Light German Institute for
George Trump . 1930 11 Sabon Paul Renner . 1928 Standardisation . 1451
Jan Tschichold . 1964
4 Bodoni 16 Futura Bold 23 Franklin Gothic
Giambattista Bodoni . 12 Times New Roman Paul Renner . 1928 Morris Fuller Benton .
1798 Stanley Morison & Victor 1872-1948
Lardent . 1932 17 Helvetica
5 Caslon Max Meidinger & 24 Gotham
William Caslon . 1725 Edouard Hoffman . 1957 Hoefler & Frere-Jones
. 2000
6 Cheltenham 18 Helvetica Light
Bertram Goodhue . 1896 Max Meidinger &
Edouard Hoffman . 1957
7 Didot
Firman Didot . 1784 19 Myriad
Robert Slimbach & Carol
8 Garamond Twombly . 1991
Claude Garamond .
c1530 20 Gill Sans
Eric Gill . 1928
10 11
Baskerville
s erif
John Baskerville
d es igner
Baskerville’s typeface was part of an ambitious
Baskerville
project to create books of the greatest possible
quality. Baskerville was a wealthy industrialist, who
had started his career as a writing-master (teacher
of calligraphy) and carver of gravestones, before
making a fortune as a manufacturer of varnished
lacquer goods. At a time when books in England
were generally printed to a low standard using
typefaces of conservative design, Baskerville sought
to offer books created to higher-quality methods of
printing than any before, using carefully made level
12 presses, a high quality of ink and very smooth paper 13
pressed after printing to a glazed, gleaming finish.
While Baskerville’s types in some aspects recall
the general design of William Caslon, the most
eminent punchcutter of the time, his approach
was far more radical. Aspects of his design
recalled his handwriting and common elements of
10.5/12.5
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m i mi
Baskerville’s typeface Baskerville’s typeface was part Baskerville’s typeface was part of an ambitious project to create
Baskerville
was part of an
of an ambitious project to create books of the greatest possible quality. Baskerville was a wealthy
ambitious project
books of the greatest possible
to create books of industrialist, who had started his career as a writing-master
the greatest possible quality. Baskerville was a wealthy
quality. Baskerville industrialist, who had started his (teacher of calligraphy) and carver of gravestones, before making
was a wealthy career as a writing-master (teacher a fortune as a manufacturer of varnished lacquer goods. At a
industrialist, who
of calligraphy) and carver of time when books in England were generally printed to a low
had started his
career as a writing- gravestones, before making a fortune standard using typefaces of conservative design, Baskerville
master (teacher as a manufacturer of varnished sought to offer books created to higher-quality methods of
of calligraphy) lacquer goods. At a time when books
and carver of
printing than any before, using carefully made level presses,
in England were generally printed a high quality of ink and very smooth paper pressed after
gravestones, before
to a low standard using typefaces
making a fortune
of conservative design, Baskerville
printing to a glazed, gleaming finish. While Baskerville’s types
as a manufacturer
14 of varnished sought to offer books created to in some aspects recall the general design of William Caslon, 15
lacquer goods. At higher-quality methods of printing the most eminent punchcutter of the time, his approach was
a time when books
in England were
than any before, using carefully made far more radical. Aspects of his design recalled his handwriting
generally printed level presses, a high quality of ink and common elements of the calligraphy taught by the time
to a low standard and very smooth paper pressed after
using typefaces of
of Baskerville’s youth, which had been used in copperplate
printing to a glazed, gleaming finish.
conservative design,
While Baskerville’s types in some engraving but had not been previously been cut into type. Such
Baskerville sought to
7.5/9 9.5/11 11.5/12.5

Bembo
s er if
Francesco Griffo
des ign er
Francesco Griffo was a type founder, punch
Bembo
cutter, and type designer. He started his career
as a goldsmith and later ended up working for a
very important publisher, Aldus Manutius. Griffo
invented Bembo in Venice in the year 1495
while hired by Manutius to create a cursive
typeface for Cardinal Pietro Bembo’s De Aetna.
Griffo wanted typefaces designed to look like
the handwriting of humanists, both in Latin and
Greek. At the time, cursive handwriting was
the norm for everyday handwriting in Venice.
16 However, published works only contained 17
block lettering. The creation of the cursive
typeface allowed for published works to be more
personal. It was the first model of italic type.
Bembo is a serif typeface and is most commonly
used for body text. It is a member of the “old-
11.5/13
h k hk
Francesco Griffo Francesco Griffo was a type founder, Francesco Griffo was a type founder, punch cutter,
Bembo
was a type founder, punch cutter, and type designer.
punch cutter, and He started his career as a goldsmith
and type designer. He started his career as a goldsmith
type designer. He and later ended up working for a and later ended up working for a very important
started his career
as a goldsmith
very important publisher, Aldus publisher, Aldus Manutius. Griffo invented Bembo in
Manutius. Griffo invented Bembo
and later ended
in Venice in the year 1495 while
Venice in the year 1495 while hired by Manutius to
up working for
a very important hired by Manutius to create a cursive create a cursive typeface for Cardinal Pietro Bembo’s
publisher, Aldus typeface for Cardinal Pietro Bembo’s De Aetna. Griffo wanted typefaces designed to look
Manutius. Griffo De Aetna. Griffo wanted typefaces
invented Bembo designed to look like the handwriting
like the handwriting of humanists, both in Latin and
in Venice in the of humanists, both in Latin and Greek. Greek. At the time, cursive handwriting was the norm
year 1495 while
hired by Manutius
At the time, cursive handwriting was for everyday handwriting in Venice. However, published
18 the norm for everyday handwriting works only contained block lettering. The creation of 19
to create a cursive
in Venice. However, published works
typeface for
only contained block lettering. The the cursive typeface allowed for published works to
Cardinal Pietro
Bembo’s De Aetna. creation of the cursive typeface be more personal. It was the first model of italic type.
Griffo wanted allowed for published works to be Bembo is a serif typeface and is most commonly used
typefaces designed more personal. It was the first model
to look like the of italic type. Bembo is a serif typeface for body text. It is a member of the “old-style” of serif
8.5/10 9.5/11 13.5/14.5

Berthold City
ser i f
George Trump
desi gn er
Berthold City is a slab serif typeface designed by
Berthold City
Georg Trump and released in 1930 by the Berthold
type foundry in Berlin, Germany. Georg Trump was
a German graphics, typeface and postage stamp
designer, known for designs such as the book
typeface Trump Mediaeval (1954), the slab serif City
(c. 1930) and the condensed, industrial Schadow.
Designed for attention and impact in advertising,
the first Egyptian or slab serifs appeared at the
beginning of the Industrial Revolution (1800s). They
regained popularity following World War I, when
20 1930 Berthold released Georg Trump’s City. Though 21
classified as a slab serif, City displays a strong
modernist influence in its geometric structure of right
angles and opposing round corners. The typeface
takes inspiration from industry and the machine age.
It features a distinctive, rectangular design meant to
11.5/13
1 2 3 4 5 6 78 9 0 abcdefghijklmnopqrstuvwxyz
n u nu
Berthold City is a slab Berthold City is a slab serif typeface Berthold City is a slab serif typeface designed by Georg Trump and
Berthold City
serif typeface designed designed by Georg Trump and released
by Georg Trump and released in 1930 by the Berthold type foundry in Berlin, Germany.
in 1930 by the Berthold type foundry
released in 1930 by the
in Berlin, Germany. Georg Trump was a Georg Trump was a German graphics, typeface and postage stamp
Berthold type foundry in
Berlin, Germany. Georg German graphics, typeface and postage designer, known for designs such as the book typeface Trump
Trump was a German stamp designer, known for designs such Mediaeval (1954), the slab serif City (c. 1930) and the condensed,
graphics, typeface and as the book typeface Trump Mediaeval
postage stamp designer, (1954), the slab serif City (c. 1930)
industrial Schadow. Designed for attention and impact in advertising,
known for designs such
and the condensed, industrial Schadow. the first Egyptian or slab serifs appeared at the beginning of the
as the book typeface
Trump Mediaeval
Designed for attention and impact in Industrial Revolution (1800s). They regained popularity following
(1954), the slab serif advertising, the first Egyptian or slab World War I, when 1930 Berthold released Georg Trump’s City.
City (c. 1930) and the serifs appeared at the beginning of the
condensed, industrial Industrial Revolution (1800s). They
Though classified as a slab serif, City displays a strong modernist
22 influence in its geometric structure of right angles and opposing 23
Schadow. Designed for regained popularity following World War
attention and impact I, when 1930 Berthold released Georg round corners. The typeface takes inspiration from industry and
in advertising, the
Trump’s City. Though classified as a slab the machine age. It features a distinctive, rectangular design meant
first Egyptian or slab
serif, City displays a strong modernist
serifs appeared at
influence in its geometric structure of
to evoke a sporty, urban feel. A consistent application of repeated
the beginning of the
Industrial Revolution right angles and opposing round corners. parts—an outer circle, softening interior, rectilinear spaces—results in
7.5/10 9.5/11.5 12/14.5

Bodoni
serif
Giambattista Bodoni
design er
Giambattista Bodoni (1740 - 1813) was an Italian
Bodoni
engraver, type designer, typographer, printer,
and publisher. In 1771, he established his own
typography where he printed editions which became
famous for their fine engravings, the elegance of the
front pages, the quality of the paper and the nature
of the inks. His craftsmanship was superb and his
attention to detail legendary. The quality of his
printing was unmatched and he came to be regarded
as the finest printer of his day. The rules of his art
were written by Bodoni himself and are demonstrated
24 25
in the “Manuale tipografico,” published after his
death by his widow Margherita Dall’Aglio in 1818.
The Bodoni typefont, with its highly recognizable
centered “Q” tail and slight hook in the “J,” was first
designed by Giambattista in 1798 and is generally
11/13.5
d h dh
Giambattista Bodoni Giambattista Bodoni (1740 - 1813) Giambattista Bodoni (1740 - 1813) was an Italian engraver,
Bodoni
(1740 - 1813) was an
Italian engraver, type
was an Italian engraver, type designer, type designer, typographer, printer, and publisher. In 1771,
designer, typographer, typographer, printer, and publisher.
printer, and publisher.
he established his own typography where he printed editions
In 1771, he established his own
In 1771, he
typography where he printed editions
which became famous for their fine engravings, the elegance of
established his own
typography where he which became famous for their fine the front pages, the quality of the paper and the nature of the
printed editions which engravings, the elegance of the front inks. His craftsmanship was superb and his attention to detail
became famous for
their fine engravings,
pages, the quality of the paper and the legendary. The quality of his printing was unmatched and he
the elegance of the nature of the inks. His craftsmanship came to be regarded as the finest printer of his day. The rules
front pages, the quality was superb and his attention to detail of his art were written by Bodoni himself and are demonstrated
of the paper and the
nature of the inks.
legendary. The quality of his printing in the “Manuale tipografico,” published after his death by his
His craftsmanship was unmatched and he came to be
26
widow Margherita Dall’Aglio in 1818. The Bodoni typefont, with 27
was superb and his regarded as the finest printer of his
attention to detail
day. The rules of his art were written by
its highly recognizable centered “Q” tail and slight hook in the
legendary. The quality
of his printing was Bodoni himself and are demonstrated “J,” was first designed by Giambattista in 1798 and is generally
unmatched and he in the “Manuale tipografico,” published considered a “transitional” font type as it represents the last phase
came to be regarded
as the finest printer of
after his death by his widow Margherita of character evolution from the pen-inspired Old Style types as well
his day. The rules of Dall’Aglio in 1818. The Bodoni as the first effort to use the design of type as visual style in written
his art were written by typefont, with its highly recognizable
6/7.5 9.5/12 12/13.5
Caslon
s e r if
William Caslon
d e s igne r
William Caslon started his career engraving government
Caslon
marks on gunlocks. A group of London printers and
booksellers asked him to cut a font of Arabic of English
size for a Psalter and a New Testament. Soon he was
cutting his own font designs. In London in 1722, Caslon
cut a roman typeface for the printer William Bowyer that
later came to be called Caslon. The success of Caslon’s
new typefaces in England was almost instantaneous and
enabled him to set up a complete type foundry. His work
helped modernize the book, making it a separate creation
rather than a printed imitation of the old hand-produced
book. Caslon’s fonts show an ‘A’ has a concave hollow at
top left, the ‘G’ is without a downwards-pointing spur
28 at bottom right and the sides of the ‘M’ are straight. The 29
‘W’ has three terminals at the top and the ‘b’ has a small
tapered stroke ending at the bottom left. Ascenders and
descenders are short and the level of stroke contrast is
modest in body text sizes. Caslon type fell into disuse
at the start of the 19th century. But in 1844, Charles
9.5/11.5
A J AJ
William Caslon started William Caslon started his career William Caslon started his career engraving government marks
Caslon
his career engraving
engraving government marks on on gunlocks. A group of London printers and booksellers asked
government marks on
gunlocks. A group of London printers
gunlocks. A group of him to cut a font of Arabic of English size for a Psalter and a New
London printers and and booksellers asked him to cut a font of
booksellers asked him to Arabic of English size for a Psalter and
Testament. Soon he was cutting his own font designs. In London in
cut a font of Arabic of
a New Testament. Soon he was cutting 1722, Caslon cut a roman typeface for the printer William Bowyer
English size for a Psalter
and a New Testament. his own font designs. In London in 1722, that later came to be called Caslon. The success of Caslon’s new
Soon he was cutting his Caslon cut a roman typeface for the typefaces in England was almost instantaneous and enabled him
own font designs. In
London in 1722, Caslon
printer William Bowyer that later came to to set up a complete type foundry. His work helped modernize the
cut a roman typeface be called Caslon. The success of Caslon’s book, making it a separate creation rather than a printed imitation
for the printer William new typefaces in England was almost
Bowyer that later came
of the old hand-produced book. Caslon’s fonts show an ‘A’ has a
instantaneous and enabled him to set up
to be called Caslon. The
a complete type foundry. His work helped
concave hollow at top left, the ‘G’ is without a downwards-pointing
success of Caslon’s new
modernize the book, making it a separate spur at bottom right and the sides of the ‘M’ are straight. The ‘W’
30 typefaces in England was 31
almost instantaneous and creation rather than a printed imitation has three terminals at the top and the ‘b’ has a small tapered stroke
enabled him to set up a
complete type foundry.
of the old hand-produced book. Caslon’s ending at the bottom left. Ascenders and descenders are short and
His work helped fonts show an ‘A’ has a concave hollow at the level of stroke contrast is modest in body text sizes. Caslon type
modernize the book,
making it a separate
top left, the ‘G’ is without a downwards- fell into disuse at the start of the 19th century. But in 1844, Charles
pointing spur at bottom right and the Whittingham initiated a Caslon revival by using the typeface to
creation rather than a
sides of the ‘M’ are straight. The ‘W’ has
printed imitation of the create an archaic effect for the publication of The Diary of Lady
6.5/8.5 8.5/11 11/12.5
Cheltenham is a serif font created by Bertram Goodhue
and Ingalls Kimball in 1896 and refined by Morris Fuller
Benton of the ATF in 1902. Goodhue was an American
architect who is most known for his work in the Gothic
Revival and Spanish Colonial Revival movements, but
was also a rather accomplished typeface designer.
Kimball was the director of Cheltenham Press, who
commissioned Goodhue to design the typeface for his
New York-based paper. It was designed as a display font
for headlines with an emphasis on legibility. Cheltenham
was at one point considered the most iconic typeface
in the United States as it featured elements of both
32 33
old-style and transitional face, allowing it to seamlessly
integrate with many different texts. Cheltenham’s
popularity can be partially attributed to the fact that
it was one of the first typefaces to be released with a
set of different weights and styles, becoming the font of
choice of The New York Times for almost one hundred
10/12.5
Cheltenham is a serif Cheltenham is a serif font created by
font created by Bertram
Cheltenham is a serif font created by Bertram Goodhue and
Bertram Goodhue and Ingalls Kimball in Ingalls Kimball in 1896 and refined by Morris Fuller Benton of the
Goodhue and Ingalls
1896 and refined by Morris Fuller Benton
Kimball in 1896 and
of the ATF in 1902. Goodhue was an
ATF in 1902. Goodhue was an American architect who is most
refined by Morris
Fuller Benton of the American architect who is most known known for his work in the Gothic Revival and Spanish Colonial
ATF in 1902. Goodhue for his work in the Gothic Revival and Revival movements, but was also a rather accomplished
was an American
architect who is most
Spanish Colonial Revival movements, typeface designer. Kimball was the director of Cheltenham
known for his work
but was also a rather accomplished Press, who commissioned Goodhue to design the typeface for
typeface designer. Kimball was the
in the Gothic Revival his New York-based paper. It was designed as a display font
and Spanish Colonial director of Cheltenham Press, who
Revival movements, commissioned Goodhue to design the
for headlines with an emphasis on legibility. Cheltenham was
but was also a rather
typeface for his New York-based paper. at one point considered the most iconic typeface in the United
accomplished typeface
It was designed as a display font for States as it featured elements of both old-style and transitional
34 designer. Kimball
35
was the director of headlines with an emphasis on legibility. face, allowing it to seamlessly integrate with many different texts.
Cheltenham Press, who Cheltenham was at one point considered Cheltenham’s popularity can be partially attributed to the fact
commissioned Goodhue the most iconic typeface in the United
to design the typeface that it was one of the first typefaces to be released with a set
States as it featured elements of both
for his New York-based
old-style and transitional face, allowing of different weights and styles, becoming the font of choice of
paper. It was designed
as a display font for it to seamlessly integrate with many The New York Times for almost one hundred years -- from 1906
headlines with an different texts. Cheltenham’s popularity to 2003. It is also the primary font for all bills and resolutions
7/9.5 9/11.5 12/13.5
Didot
s erif
Firman Didot
des igner
Firmin Didot, born 1974 in Paris, is best remem-
Didot
bered today as one of the most defining typo-
graphic giants in history and it is under his name
that his family’s printing company still exists. He
cut his first typeface at the age of 19. In 1797, he
was granted a patent for his developments in the
field of stereotype printing, which revolutionized
the book trade with cheap printing costs. Didot’s
greatest accomplishment, however, was perfecting
the Didone or “Modern” style typeface in 1784.
These typefaces are characterized by their extreme
contrast in thick and thin strokes, use of hairline
serifs, and vertical stress of their letters. With a
36 37
classic and elegant feel, Didot’s typeface undoubt-
ably drew inspiration from John Baskerville’s
experimentation with increasing stroke contrast
and a more condensed armature. Since its original
creation, the Didot typeface has experienced several
revivals, including one drawn by Adrian Frutiger for
9.5/11.5
F H HF
Firmin Didot, born Firmin Didot, born 1974 in Paris, is Firmin Didot, born 1974 in Paris, is best remembered today
Didot
1974 in Paris, is best best remembered today as one of the
remembered today as one of the most defining typographic giants in history
most defining typographic giants in
as one of the most
defining typographic history and it is under his name that and it is under his name that his family’s printing company
giants in history and his family’s printing company still still exists. He cut his first typeface at the age of 19. In 1797,
it is under his name
that his family’s
exists. He cut his first typeface at the he was granted a patent for his developments in the field
age of 19. In 1797, he was granted a of stereotype printing, which revolutionized the book trade
printing company
patent for his developments in the
still exists. He cut his
first typeface at the field of stereotype printing, which
with cheap printing costs. Didot’s greatest accomplishment,
age of 19. In 1797, he revolutionized the book trade with however, was perfecting the Didone or “Modern” style
was granted a patent
for his developments
cheap printing costs. Didot’s greatest typeface in 1784. These typefaces are characterized by their
in the field of
accomplishment, however, was extreme contrast in thick and thin strokes, use of hairline
perfecting the Didone or “Modern”
stereotype printing,
serifs, and vertical stress of their letters. With a classic and
38 which revolutionized style typeface in 1784. These typefaces 39
the book trade with are characterized by their extreme elegant feel, Didot’s typeface undoubtably drew inspiration
cheap printing costs.
Didot’s greatest
contrast in thick and thin strokes, from John Baskerville’s experimentation with increasing
accomplishment, use of hairline serifs, and vertical stroke contrast and a more condensed armature. Since
stress of their letters. With a classic
however, was
its original creation, the Didot typeface has experienced
perfecting the and elegant feel, Didot’s typeface
Didone or “Modern” undoubtably drew inspiration from several revivals, including one drawn by Adrian Frutiger for
style typeface in
7/9 8.5/11 11/13.5

Garamond
ser if
Claude Garamond
designer
The designer of Garamond, Garamond Claude, was born
Garamond
1480 in Paris, France and he died 1561. When he was
30, he trained as a punch cutter with Simon de Colines
and then with Geoffroy Tory in 1520. Soon after,
Garamond’s first type is used in an edition of the book
“Paraphrasis in Elegantiarum Libros Laurentii Vallae” by
Erasmus. Ten years later, King Francis I commissioned
Garamond to cut a Greek type. From 1545 onwards
Garamond worked as a publisher, first with Pierre
Gaultier and later with Jean Barbe. Prior to Garamond’s
work, the practice of making type was to make as exact
as possible replicas of a scribe’s handwriting. Garamond
40 the first to deviate from a purely handwritten-style, 41
crafting letters to the medium that would read better
when printed. Other key characteristics include the way
the top serifs of the lower-case letters curve back into
the letter, the generous openings in the letters, known
as counters, and the tall ascenders. Variations include
Adobe Garamond, released in 1989, designed by Robert
10/12
‘
A ‘ A
The designer The designer of Garamond, Garamond The designer of Garamond, Garamond Claude, was born 1480 in
Garamond
of Garamond, Claude, was born 1480 in Paris, France
Garamond Claude, and he died 1561. When he was 30, he
Paris, France and he died 1561. When he was 30, he trained as a
was born 1480 in trained as a punch cutter with Simon de punch cutter with Simon de Colines and then with Geoffroy Tory
Paris, France and he
died 1561. When he
Colines and then with Geoffroy Tory in in 1520. Soon after, Garamond’s first type is used in an edition of
1520. Soon after, Garamond’s first type is
was 30, he trained used in an edition of the book “Paraphrasis the book “Paraphrasis in Elegantiarum Libros Laurentii Vallae” by
as a punch cutter in Elegantiarum Libros Laurentii Vallae” Erasmus. Ten years later, King Francis I commissioned Garamond
with Simon de
by Erasmus. Ten years later, King Francis to cut a Greek type. From 1545 onwards Garamond worked as a
Colines and then
I commissioned Garamond to cut a Greek
with Geoffroy Tory
type. From 1545 onwards Garamond publisher, first with Pierre Gaultier and later with Jean Barbe. Prior
in 1520. Soon after,
Garamond’s first worked as a publisher, first with Pierre to Garamond’s work, the practice of making type was to make as
type is used in an Gaultier and later with Jean Barbe. exact as possible replicas of a scribe’s handwriting. Garamond the
edition of the book Prior to Garamond’s work, the practice
“Paraphrasis in of making type was to make as exact as first to deviate from a purely handwritten-style, crafting letters
42 possible replicas of a scribe’s handwriting. to the medium that would read better when printed. Other key 43
Elegantiarum Libros
Garamond the first to deviate from a
Laurentii Vallae” by
purely handwritten-style, crafting letters
characteristics include the way the top serifs of the lower-case letters
Erasmus. Ten years
later, King Francis to the medium that would read better curve back into the letter, the generous openings in the letters,
I commissioned when printed. Other key characteristics known as counters, and the tall ascenders. Variations include
Garamond to cut a include the way the top serifs of the lower-
Greek type. From case letters curve back into the letter, the
Adobe Garamond, released in 1989, designed by Robert Slimbach
1545 onwards for Adobe Systems, based on a Roman type by Garamond and
8/9.5 8.5/10 11.5/13.5
Minion
s er if
Robert Slimbach
d esig ner
Robert Slimbach was born in Evanston, Illinois in
Minion
1956 but most of his youth he spend in Southern
California. After attending UCLA on an athletics
scholarship, he developed an interest in graphic
design and typefaces while running a small screen
printshop for manufacturing posters and greeting
cards. This work brought him into contact with
Autologic Incorporated where he received further
training, not just as a type designer but also as a
calligrapher. Later on Slimbach was self-employed
for as a freelance type designer. During this time he
developed the two typefaces ITC Slimbach and ITC
44 45
Giovanni for the International Typeface Corpo-
ration. Because working as a free lanser, Slimbach
“wasn’t really making enough money to live on” he
decided to join Adobe Systems in1987 where he has
developed many new fonts for the Adobe Originals
program. Among his early projects at Adobe were
10.5/12.5
B K KB
Robert Slimbach was Robert Slimbach was born in Evanston, Robert Slimbach was born in Evanston, Illinois in 1956 but
Minion
born in Evanston, Illinois in 1956 but most of his youth
Illinois in 1956 but
he spend in Southern California. After
most of his youth he spend in Southern California. After
most of his youth he
spend in Southern attending UCLA on an athletics scholar- attending UCLA on an athletics scholarship, he developed
California. ship, he developed an interest in graphic an interest in graphic design and typefaces while running a
After attending UCLA design and typefaces while running a
on an athletics small screen printshop for manufacturing
small screen printshop for manufacturing posters and greet-
scholarship, he posters and greeting cards. This work ing cards. This work brought him into contact with Autologic
developed an interest
in graphic design
brought him into contact with Autologic Incorporated where he received further training, not just as
Incorporated where he received further
and typefaces while
training, not just as a type designer but
a type designer but also as a calligrapher. Later on Slimbach
running a small screen
printshop for manu- also as a calligrapher. Later on Slimbach was self-employed for as a freelance type designer. During this
facturing posters and
greeting cards. This
was self-employed for as a freelance type time he developed the two typefaces ITC Slimbach and ITC
designer. During this time he developed
46 work brought him into
the two typefaces ITC Slimbach and ITC
Giovanni for the International Typeface Corporation. Be- 47
contact with Autologic
Incorporated where Giovanni for the International Typeface cause working as a free lanser, Slimbach “wasn’t really making
he received further Corporation. Because working as a free enough money to live on” he decided to join Adobe Systems
training, not just as a lanser, Slimbach “wasn’t really making
type designer but also enough money to live on” he decided to
in1987 where he has developed many new fonts for the Adobe
as a calligrapher. Later join Adobe Systems in1987 where he has Originals program. Among his early projects at Adobe were
on Slimbach was
self-employed for as a
developed many new fonts for the Adobe the Utopia(1988), Adobe Garamond (1989), Minion (1990)
7/9 8.5/10.5 12/14
Serifa
seri f
Horst Heiderhoff & Adrian Frutiger

desi gners
Serifa was designed by Adrian Frutiger for the
Serifa
Bauer foundry in 1966. The letterforms are based
on those of Frutiger’s earlier sans serif design,
Univers. Square, unbracketed serifs have been
added, making this a slab serif typeface. Serifa
has more humanistic forms that are highly
readable for both text and display applications
such as headlines, captions, or corporate logos.
Frutiger developed Serifa in 1964, and it was
released by the Bauer Type Foundry in 1967. He
based the shapes in Serifa on the Universe, the
sans serif family he designed in the 1950s. While
Serifa retains the geometry, linear skeletons
48 of Univers, it has the addition of unbracketed 49
square serifs, a squatter x-height, and boxing
caps. Serifa is surprisingly elegant and legible,
and with its six weights, it functions well in both
text and display typography. Adrian Frutiger
was a Swiss typeface designer whose sharp-
edged sans-serif fonts – Univers, Avenir and
9.5/11
u r ur
Serifa was Serifa was designed by Adrian Serifa was designed by Adrian Frutiger for the Bauer
Serifa
designed by Adrian Frutiger for the Bauer foundry in
Frutiger for the foundry in 1966. The letterforms are based on those
1966. The letterforms are based on
Bauer foundry in
those of Frutiger’s earlier sans serif of Frutiger’s earlier sans serif design, Univers. Square,
1966. The letter-
forms are based on design, Univers. Square, unbracketed unbracketed serifs have been added, making this a slab
those of Frutiger’s serifs have been added, making this serif typeface. Serifa has more humanistic forms that are
earlier sans serif a slab serif typeface. Serifa has more
design, Univers. highly readable for both text and display applications
humanistic forms that are highly
Square, unbrack-
readable for both text and display such as headlines, captions, or corporate logos. Frutiger
eted serifs have
been added, mak- applications such as headlines, developed Serifa in 1964, and it was released by the
ing this a slab serif captions, or corporate logos.Frutiger Bauer Type Foundry in 1967. He based the shapes in
typeface. Serifa has developed Serifa in 1964, and it
more humanistic
Serifa on the Universe, the sans serif family he designed
was released by the Bauer Type
forms that are Foundry in 1967. He based the in the 1950s. While Serifa retains the geometry, linear
highly readable
shapes in Serifa on the Universe, the skeletons of Univers, it has the addition of unbracketed
50 for both text and 51
display applications sans serif family he designed in square serifs, a squatter x-height, and boxing caps.
such as head- the 1950s. While Serifa retains the
Serifa is surprisingly elegant and legible, and with its
lines, captions, or geometry, linear skeletons of Univers,
corporate logos. it has the addition of unbracketed six weights, it functions well in both text and display
Frutiger developed
Serifa in 1964, and
square serifs, a squatter x-height, typography. Adrian Frutiger was a Swiss typeface
it was released by and boxing caps. Serifa is surprisingly designer whose sharp-edged sans-serif fonts – Univers,
elegant and legible, and with its six
the Bauer Type Avenir and the eponymous Frutiger – made their mark
7/8.5 8/10 11/12.5

Sabon
seri f
Jan Tschichold
de si gne r
One of the main leaders of the Elementare
Sabon
Typografie movement, or “Elementary Typography”,
German-born Jan Tschichold was a calligrapher,
typographer, as well as a book designer. Tschichold
was the author of Die Neue Typographie, or “The
New Typography”, in which he set forth rules for
standardization of practices relating to modern type
usage. He would actually later have much of his work
seized by Nazis before fleeing the country because
they saw his emphasis on new typography and sans-
serif typefaces as a threat to the German traditions of
Blackletter Typography. Luckily, his creation Sabon
52 53
still stands to be appreciated today. Joint released by
the Linotype, Monotype, and Stempel type foundries
in the period 1964-1967, Sabon’s origin goes back to
a printing firm’s interest in creating a new typeface
that could be used in any of the various printing
techniques then available. Certain flaws in the
10/12.5
y v yv
One of the One of the main leaders of the One of the main leaders of the Elementare Typografie movement,
Sabon
main leaders of Elementare Typografie movement, or
the Elementare
or “Elementary Typography”, German-born Jan Tschichold was
“Elementary Typography”, German-
Typografie born Jan Tschichold was a calligrapher, a calligrapher, typographer, as well as a book designer. Tschichold
movement, or typographer, as well as a book designer. was the author of Die Neue Typographie, or “The New
“Elementary Tschichold was the author of Die Typography”, in which he set forth rules for standardization of
Typography”, Neue Typographie, or “The New
German-born Jan practices relating to modern type usage. He would actually later
Typography”, in which he set forth
Tschichold was
rules for standardization of practices have much of his work seized by Nazis before fleeing the country
a calligrapher, because they saw his emphasis on new typography and sans-serif
relating to modern type usage. He
typographer, as well
as a book designer.
would actually later have much of his typefaces as a threat to the German traditions of Blackletter
Tschichold was
work seized by Nazis before fleeing the Typography. Luckily, his creation Sabon still stands to be
country because they saw his emphasis
the author of Die
on new typography and sans-serif
appreciated today. Joint released by the Linotype, Monotype, and
Neue Typographie,
54 or “The New typefaces as a threat to the German Stempel type foundries in the period 1964-1967, Sabon’s origin 55
Typography”, traditions of Blackletter Typography. goes back to a printing firm’s interest in creating a new typeface
in which he set Luckily, his creation Sabon still stands that could be used in any of the various printing techniques then
forth rules for to be appreciated today. Joint released
by the Linotype, Monotype, and
available. Certain flaws in the typeface’s digital versions now can
standardization of
practices relating to Stempel type foundries in the period be linked back to the past limitations of the hot-metal technology
modern type usage. 1964-1967, Sabon’s origin goes back to used to create the original plates. These flaws, though, such as the
8/10 8.5/10.5 11/13

Times New Roman
ser i f
Stanley Morison & Victor Lardent

desi gner
Times New Roman is a serif typeface commissioned
Times New Roman

by The Times of London. Times New Roman
became a new text type design from Stanley
Morison, an artistic director at Monotype, historian
of printing, and informal adviser to the Times and
the Monotype Corporation after he wrote an article
criticizing The Times for being badly printed and
typographically behind its time. The new design
was supervised by Morison and drawn by Victor
Lardent, an artist from the advertising department of
The Times. Morison used an older typeface, Plantin,
as the basis for his design, but made revisions to
56 57
increase legibility and economy of space. The new
design made its debut in 1932 in The Times. After
one year, the design was released for commercial
sale. The Times stayed with Times New Roman for
40 years, but new production techniques and the
format change from broadsheet to tabloid in 2004
8/10
R y Ry
Times New Roman Times New Roman is a serif typeface Times New Roman is a serif typeface commissioned by The
Times New Roman

is a serif typeface commissioned by The Times of
commissioned by The Times of London. Times New Roman became a new text type
London. Times New Roman became
Times of London.
a new text type design from Stanley design from Stanley Morison, an artistic director at Monotype,
Times New Roman
became a new text Morison, an artistic director at historian of printing, and informal adviser to the Times and the
type design from Monotype, historian of printing, and Monotype Corporation after he wrote an article criticizing The
Stanley Morison, an
informal adviser to the Times and the Times for being badly printed and typographically behind its
artistic director at
Monotype Corporation after he wrote
Monotype, historian
an article criticizing The Times for
time. The new design was supervised by Morison and drawn by
of printing, and
informal adviser being badly printed and typographically Victor Lardent, an artist from the advertising department of The
to the Times and behind its time. The new design was Times. Morison used an older typeface, Plantin, as the basis for
the Monotype
Corporation after
supervised by Morison and drawn his design, but made revisions to increase legibility and economy
by Victor Lardent, an artist from the
he wrote an article of space. The new design made its debut in 1932 in The Times.
58 critcizing The advertising department of The Times. 59
Times for being Morison used an older typeface, After one year, the design was released for commercial sale.
badly printed and
Plantin, as the basis for his design, but The Times stayed with Times New Roman for 40 years, but new
typographically
behind its time. made revisions to increase legibility production techniques and the format change from broadsheet
The new design and economy of space. The new design to tabloid in 2004 have caused the newspaper to switch typeface
was supervised made its debut in 1932 in The Times.
by Morison and After one year, the design was released
five times since 1972. However, all the new fonts have been
drawn by Victor variants of the original New Roman typeface. Times New
7.5/9 8/10 11.5/13.5
H. Berthold AG was one of the largest and most successful type
Akzidenz Grotesk
foundries in the world for most of the modern typographic era.
Established in 1858 by Hermann Berthold and based in Berlin,
the company played a key role in the introduction of major new
typefaces and was a successful player in the development of
typesetting machines. To complement its proprietary typesetting
equipment business activities, Berthold developed the Berthold
Exklusiv Collection, a collection of typefaces created solely for
Berthold by distinguished designers. Günter Gerhard Lange,
renowned master craftsman, began his association with Berthold
at the same time Berthold entered phototype, in 1952. As
artistic director from 1961 to 1990, Lange was responsible for
the creation, meticulous production standards and attention to
quality found in each of the Berthold Exklusivs. In 1991, Bernd
Möllenstädt succeeded Lange as the type director for the
Berthold Exklusiv Collection and continued Lange’s tradition 61
when directing the digitization of the Berthold Exklusivs. Berthold
first published Akzidenz-Grotesk in 1898. Originally named
“Accidenz-Grotesk” the design originates from Royal Grotesk
light by royal type-cutter Ferdinand Theinhardt. The Theinhardt
foundry later merged with Berthold and also supplied the
regular, medium and bold weights. Akzidenz-Grotesk is an early
8/10
H. Berthold AG was H. Berthold AG was one of the largest H. Berthold AG was one of the largest and most successful type
one of the largest and most successful type foundries foundries in the world for most of the modern typographic era. Established
and most successful in the world for most of the modern
type foundries in the in 1858 by Hermann Berthold and based in Berlin, the company played a
typographic era. Established in 1858
world for most of the
by Hermann Berthold and based in
key role in the introduction of major new typefaces and was a successful
modern typographic player in the development of typesetting machines. To complement its
era. Established in
Berlin, the company played a key
1858 by Hermann role in the introduction of major new proprietary typesetting equipment business activities, Berthold developed
Berthold and based in typefaces and was a successful player the Berthold Exklusiv Collection, a collection of typefaces created stolely
Berlin, the company in the development of typesetting for Berthold by distinguished designers. Günter Gerhard Lange, renowned
played a key role in machines. To complement its proprietary master craftsman, began his association with Berthold at the same time
the introduction of typesetting equipment business activities,
major new typefaces Berthold entered phototype, in 1952. As artistic director from 1961 to
Berthold developed the Berthold
and was a successful Exklusiv Collection, a collection of 1990, Lange was responsible for the creation, meticulous production
player in the develop-
typefaces created solely for Berthold by standards and attention to quality found in each of the Berthold Exklusivs.
ment of typesetting
distinguished designers. Günter Gerhard In 1991, Bernd Möllenstädt succeeded Lange as the type director for
62 machines. To comple-
Lange, renowned master craftsman, the Berthold Exklusiv Collection and continued Lange’s tradition when 63
ment its proprietary
typesetting equipment began his association with Berthold at the directing the digitization of the Berthold Exklusivs. Berthold first published
business activities, same time Berthold entered phototype, Akzidenz-Grotesk in 1898. Originally named “Accidenz-Grotesk” the
Berthold developed in 1952. As artistic director from 1961
the Berthold Exklusiv
design originates from Royal Grotesk light by royal type-cutter Ferdinand
to 1990, Lange was responsible for the
Collection, a col- creation, meticulous production standards Theinhardt. The Theinhardt foundry later merged with Berthold and
lection of typefaces and attention to quality found in each of also supplied the regular, medium and bold weights. Akzidenz-Grotesk
created solely for Ber-
7/9 8/10 8/10

Akzidenz Grotesk Bold is a font that comes
from the Akzidenz Grotesk typeface. Akzidenz
Grotesk was designed by Gunter Gerhard Lange
and Ferdinand Theinhardt. Though officially
released in 1908 by the Berthold Type Foundry,
Akizdenz Grotesk has had multiple weights
added in over the years. Several variations of
Berthold were added to the four styles that were
created for the Prussian Academy of Sciences.
Akizdenz means a “commercial” typeface, which
was what it was mostly used for in the nine-
teenth century. It was often used in advertising
64 and publicity materials and not for books or 65
decorative uses. Specifically in the nineteenth
century, Akzidenz Grotesk became dominant
in Germany where it was used for printing, and
remains to be one of the most popular examples
of this typeface. It is a simple typeface used for
general purposes, which was why it was used
9.5/12
Akzidenz Grotesk Akzidenz Grotesk Bold is a font that Akzidenz Grotesk Bold is a font that comes from the
Bold is a font that
comes from the Akzidenz Grotesk Akzidenz Grotesk typeface. Akzidenz Grotesk was
comes from the
typeface. Akzidenz Grotesk was
Akzidenz Grotesk designed by Gunter Gerhard Lange and Ferdinand
typeface. Akzidenz designed by Gunter Gerhard Lange
Grotesk was and Ferdinand Theinhardt. Though
Theinhardt. Though officially released in 1908 by the
designed by Gunter
officially released in 1908 by the Berthold Type Foundry, Akizdenz Grotesk has had multi-
Gerhard Lange
and Ferdinand Berthold Type Foundry, Akizdenz ple weights added in over the years. Several variations of
Theinhardt. Though Grotesk has had multiple weights Berthold were added to the four styles that were created
officially released in
1908 by the Berthold
added in over the years. Several for the Prussian Academy of Sciences. Akizdenz means
Type Foundry, variations of Berthold were added to a “commercial” typeface, which was what it was mostly
Akizdenz Grotesk the four styles that were created for
has had multiple
used for in the nineteenth century. It was often used in
the Prussian Academy of Sciences.
weights added
Akizdenz means a “commercial”
advertising and publicity materials and not for books or
in over the years.
typeface, which was what it was decorative uses. Specifically in the nineteenth century,
66 Several variations 67
of Berthold were mostly used for in the nineteenth Akzidenz Grotesk became dominant in Germany where it
added to the four
styles that were
century. It was often used in adver- was used for printing, and remains to be one of the most
created for the tising and publicity materials and popular examples of this typeface. It is a simple typeface
Prussian Academy of
Sciences. Akizdenz
not for books or decorative uses. used for general purposes, which was why it was used
Specifically in the nineteenth century, often for International design styles, or basic commercial
means a “commer-
Akzidenz Grotesk became dominant
cial” typeface, which styles in the USA. Akizdenz Grotesk Bold has a very simple
6.5/8.5 8/11 10.5/12.5

Frutiger
san- seri f
Adrian Frutiger
desi gner
Frutiger is a sans-serif typeface by the Swiss type
Frutiger
designer Adrian Frutiger. The typeface, originally
called Roissy, was completed in 1975. Frutiger’s
goal was to create a sans serif typeface with the
rationality and cleanliness of Univers, but the
organic and proportional aspects of Gill Sans. The
result is that Frutiger is a distinctive and legible
typeface. The letter properties were suited to the
needs of Charles De Gaulle; the modern appearance
and legibility at various angles, sizes, and distances.
Ascenders and descenders are very prominent,
and apertures are wide to easily distinguish letters
from each other. The Frutiger family was released
68 publicly in 1976, by the Stempel type foundry in 69
conjunction with Linotype. Frutiger’s simple and
legible, yet warm and casual character has made
it popular today in advertising and small print.
Some major uses of Frutiger are in the corporate
identity of Raytheon, the National Health Service
in England, the British Royal Navy, the Canadian
9/11
k h hk
Frutiger is a sans-serif Frutiger is a sans-serif typeface by the Frutiger is a sans-serif typeface by the Swiss type designer
Frutiger
typeface by the Swiss
Swiss type designer Adrian Frutiger. The Adrian Frutiger. The typeface, originally called Roissy, was
type designer Adrian
typeface, originally called Roissy, was
Frutiger. The typeface,
completed in 1975. Frutiger’s goal was to create a sans serif
originally called Roissy, completed in 1975. Frutiger’s goal was
was completed in
to create a sans serif typeface with the typeface with the rationality and cleanliness of Univers, but
1975. Frutiger’s goal
was to create a sans rationality and cleanliness of Univers, the organic and proportional aspects of Gill Sans. The result
serif typeface with but the organic and proportional aspects is that Frutiger is a distinctive and legible typeface. The letter
the rationality and
cleanliness of Univers,
of Gill Sans. The result is that Frutiger properties were suited to the needs of Charles De Gaulle; the
but the organic and is a distinctive and legible typeface. modern appearance and legibility at various angles, sizes,
proportional aspects The letter properties were suited to the
of Gill Sans. The and distances. Ascenders and descenders are very prominent,
needs of Charles De Gaulle; the modern
result is that Frutiger
appearance and legibility at various
and apertures are wide to easily distinguish letters from each
is a distinctive and
legible typeface. The angles, sizes, and distances. Ascenders other. The Frutiger family was released publicly in 1976, by the
letter properties were
and descenders are very prominent, and Stempel type foundry in conjunction with Linotype. Frutiger’s
suited to the needs of
Charles De Gaulle; the apertures are wide to easily distinguish simple and legible, yet warm and casual character has made
70 71
modern appearance letters from each other. The Frutiger it popular today in advertising and small print. Some major
and legibility at various
family was released publicly in 1976, by uses of Frutiger are in the corporate identity of Raytheon, the
angles, sizes, and
the Stempel type foundry in conjunction
distances. Ascenders National Health Service in England, the British Royal Navy,
and descenders are with Linotype. Frutiger’s simple and
very prominent, and
legible, yet warm and casual character
the Canadian Broadcasting Corporation, the Banco Bradesco
apertures are wide
to easily distinguish has made it popular today in advertising in Brazil, the Finnish Defense Forces and on road signs in
letters from each and small print. Some major uses of Switzerland. The typeface has also been used across the public
other. The Frutiger
6/7.5 7.5/10 10/11.5

Futura Light
san - se rif
Paul Renner
d e s i gn e r
Paul Renner was an eminent twentieth century
Futura Light
German graphic designer, type designer and
typographer. He was also a remarkable painter
and teacher. He is best known for designing Futura
typeface which became the milestone creation
of twentieth century and influenced the modern
typeface designs. The typeface was influenced
heavily by that of German professor Jakob Erbar
and the Bauhaus school of design— a typeface
that aimed for a pure functionality, with no
ornamentation or individual characteristics. It is
based on the circle — the most fundamental of
72 73
all typographic components. The Bauhaus school
of design believed in a world where form and
function destroyed ornamentation, clutter and
revivals of the more decorative past. Renner too
believed in the school’s principles and rejected
the font styles of the past, the grotesques, their
10.5/12.5
n a an
Paul Renner was an Paul Renner was an eminent Paul Renner was an eminent twentieth century German
Futura Light
eminent twentieth twentieth century German
century German
graphic designer, type designer and typographer. He was
graphic designer, type designer
graphic designer, and typographer. He was also a also a remarkable painter and teacher. He is best known
type designer remarkable painter and teacher. for designing Futura typeface which became the milestone
and typographer. He is best known for designing
He was also a
creation of twentieth century and influenced the modern
Futura typeface which became the
remarkable painter typeface designs. The typeface was influenced heavily by that
milestone creation of twentieth
and teacher. He
century and influenced the modern of German professor Jakob Erbar and the Bauhaus school of
is best known
typeface designs. The typeface design— a typeface that aimed for a pure functionality, with
for designing
was influenced heavily by that of no ornamentation or individual characteristics. It is based
Futura typeface
German professor Jakob Erbar and
which became the on the circle — the most fundamental of all typographic
milestone creation the Bauhaus school of design— a
74 typeface that aimed for a pure components. The Bauhaus school of design believed in a 75
of twentieth century
and influenced functionality, with no ornamentation world where form and function destroyed ornamentation,
the modern or individual characteristics. It is clutter and revivals of the more decorative past. Renner too
typeface designs. based on the circle — the most
fundamental of all typographic
believed in the school’s principles and rejected the font styles
The typeface was
influenced heavily components. The Bauhaus school of the past, the grotesques, their narrowness and lack of
8/11 9.5/11.5 11.5/14.5

Helvetica
san- ser if
Max Meidinger & Edouard Hoffman

designer s
In 1957, Max Miedinger, a Swiss typeface designer
Helvetica
worked with Eduard Hoffmann to create Helvetica. It
quickly became one of the most popular typefaces of
the 20th century. The typeface was designed to be
easily read, a neutral design that could be used in
a variety of places without any difficulties. Helvetica
is a neo-grotesque typeface. This meant the design
was solid and bold which made it most suitable for
headlines or advertisements. The style is extremely
vertical and there is a limited variation, if any, in the
stroke. Even the curves of grotesque fonts terminated
horizontally. To create a uniform appearance, capitals
76 were usually fit within a square, cap and ascender
77
high was kept uniform and descenders were short.
This allowed for tighter linespacing. Grotesque type-
faces were so bold they vey rarely had a true italic
but anther a sloped alternative design. Some specific
attributes of Helvetica are: a narrow t and f a square
10/11
e g e
g
In 1957, Max Miedinger, In 1957, Max Miedinger, a Swiss typeface In 1957, Max Miedinger, a Swiss typeface designer worked with
Helvetica
a Swiss typeface
designer worked with Eduard Hoffmann
designer worked with
to create Helvetica. It quickly became one
Eduard Hoffmann to create Helvetica. It quickly became one of
Eduard Hoffmann to cre-
ate Helvetica. It quickly of the most popular typefaces of the 20th the most popular typefaces of the 20th century. The typeface was
became one of the most
popular typefaces of century. The typeface was designed to be designed to be easily read, a neutral design that could be used in
the 20th century. The easily read, a neutral design that could
typeface was designed
a variety of places without any difficulties. Helvetica is a neo-gro-
be used in a variety of places without any
to be easily read, a
neutral design that could difficulties. Helvetica is a neo-grotesque tesque typeface. This meant the design was solid and bold which
be used in a variety typeface. This meant the design was solid made it most suitable for headlines or advertisements. The style
of places without any and bold which made it most suitable for
difficulties. Helvetica is extremely vertical and there is a limited variation, if any, in the
is a neo-grotesque headlines or advertisements. The style is
typeface. This meant the extremely vertical and there is a limited stroke. Even the curves of grotesque fonts terminated horizontally.
design was solid and
bold which made it most
variation, if any, in the stroke. Even the To create a uniform appearance, capitals were usually fit within a
suitable for headlines curves of grotesque fonts terminated square, cap and ascender high was kept uniform and descenders
or advertisements. horizontally. To create a uniform appear-
The style is extremely were short. This allowed for tighter linespacing. Grotesque type-
78 vertical and there is a
ance, capitals were usually fit within a
79
limited variation, if any, square, cap and ascender high was kept faces were so bold they vey rarely had a true italic but anther a
in the stroke. Even the uniform and descenders were short. This
curves of grotesque sloped alternative design. Some specific attributes of Helvetica are:
allowed for tighter linespacing. Grotesque
fonts terminated
horizontally. To create typefaces were so bold they vey rarely had a narrow t and f a square looking s bracketed top serif of 1 round-
a uniform appearance, a true italic but anther a sloped alternative ed off square tail of R concave curved stem of 7 a two-stored “a”
capitals were usually fit
within a square, cap and design. Some specific attributes of Helveti- narrow apertures no difference between lower case “l” and upper
ascender high was kept ca are: a narrow t and f a square looking s
uniform and descenders bracketed top serif of 1 rounded off square
case “I” An interesting tidbit is that Helvetica was originally called
6/7 7.5/9.5 10/12.5

Helvetica Light
san- ser if
Max Meidinger & Edouard Hoffman

designer s
Helvetica was developed in 1957 by Max
Helvetica Light
Miedinger and Eduard Hoffmann at the Haas Type
Foundry of Switzerland. Haas set out to design a
new sans-serif typeface that could compete with the
successful Akzidenz Grotesk. Originally called Neue
Haas Grotesk, its design was based on Schelter-
Grotesk and Haas’s Normal Grotesk. The aim of the
new design was to create a neutral typeface that
had great clarity, no intrinsic meaning in its form,
and a wide variety of usage. The final result would
come to be characterized by its tall x-height, tight
letter spacing, and narrow apertures. When Linotype
Foundry adopted Neue Haas Grotesk, its design was
80 reworked. After the success of Univers, Arthur Ritzel of 81
Stempel redesigned Neue Haas Grotesk into a larger
family. In 1960, the typeface’s name was changed by
Haas’ German parent company Stempel to Helvetica in
order to make it more marketable internationally. What
is known now as the Helvetica Light font was later
drawn and added by Stempel’s artistic director Erich
9/11
b j jb
Helvetica was Helvetica was developed in 1957 by Max Helvetica was developed in 1957 by Max Miedinger and Eduard
Helvetica Light
developed in Miedinger and Eduard Hoffmann at
1957 by Max the Haas Type Foundry of Switzerland. Hoffmann at the Haas Type Foundry of Switzerland. Haas set
Miedinger and Haas set out to design a new sans-serif out to design a new sans-serif typeface that could compete with
Eduard Hoffmann
at the Haas
typeface that could compete with the
the successful Akzidenz Grotesk. Originally called Neue Haas
successful Akzidenz Grotesk. Originally
Type Foundry of called Neue Haas Grotesk, its design Grotesk, its design was based on Schelter-Grotesk and Haas’s
Switzerland. Haas
set out to design
was based on Schelter-Grotesk and Normal Grotesk. The aim of the new design was to create a
Haas’s Normal Grotesk. The aim of the
a new sans-serif
new design was to create a neutral
neutral typeface that had great clarity, no intrinsic meaning in its
typeface that could
compete with the
typeface that had great clarity, no intrinsic form, and a wide variety of usage. The final result would come
successful Akzidenz meaning in its form, and a wide variety to be characterized by its tall x-height, tight letter spacing, and
of usage. The final result would come to
Grotesk. Originally
be characterized by its tall x-height, tight narrow apertures. When Linotype Foundry adopted Neue Haas
called Neue Haas
Grotesk, its design letter spacing, and narrow apertures. Grotesk, its design was reworked. After the success of Univers,
82 was based on When Linotype Foundry adopted Neue Arthur Ritzel of Stempel redesigned Neue Haas Grotesk into 83
Schelter-Grotesk Haas Grotesk, its design was reworked.
and Haas’s Normal After the success of Univers, Arthur Ritzel a larger family. In 1960, the typeface’s name was changed by
Grotesk. The aim of of Stempel redesigned Neue Haas Grotesk Haas’ German parent company Stempel to Helvetica in order to
the new design was into a larger family. In 1960, the typeface’s
to create a neutral name was changed by Haas’ German
make it more marketable internationally. What is known now as
typeface that had parent company Stempel to Helvetica the Helvetica Light font was later drawn and added by Stempel’s
great clarity, no
intrinsic meaning in
in order to make it more marketable artistic director Erich Schultz-Anker. Helvetica is among the
internationally. What is known now as the
7/9 7.5/9.5 11/13

Myriad
s an-s er if
Robert Slimbach & Carol Twombly

des igners
Robert Slimbach began concentrating on type and
Myriad
calligraphy in 1983 in the type drawing department
of Autologic in Newbury Park, California. He then
joined Adobe in 1987 and has been directing
Adobe’s type design team since. Most of the notable
typeface designers have historically been men,
but one of the twentieth century’s most influential
designers is Carol Twombly, who worked for years in
the type design department at Adobe, when many
of the Adobe Originals typefaces were planned and
carried out in the 1990s. Together, they worked to
create the fontface Myriad. Released as part of the
84 Adobe Originals series in 1992, Myriad became the 85
flagship typeface for Adobe’s Multiple Master font
format (which enabled the design to be rendered
dynamically from light to extra bold weights, and
from condensed to extended widths). However, the
font has been made available in a Pro character set
in the OpenType format in 2000, and its considerable
10/12
t f tf
Robert Slimbach began Robert Slimbach began concentrating Robert Slimbach began concentrating on type and calligraphy in
Myriad
concentrating on
on type and calligraphy in 1983 in the
type and calligraphy 1983 in the type drawing department of Autologic in Newbury
in 1983 in the type type drawing department of Autologic
drawing department of in Newbury Park, California. He then Park, California. He then joined Adobe in 1987 and has been
Autologic in Newbury
Park, California. He joined Adobe in 1987 and has been directing Adobe’s type design team since. Most of the notable
then joined Adobe in directing Adobe’s type design team typeface designers have historically been men, but one of the
1987 and has been
since. Most of the notable typeface
directing Adobe’s type
designers have historically been men,
twentieth century’s most influential designers is Carol Twombly,
design team since.
Most of the notable but one of the twentieth century’s most who worked for years in the type design department at Adobe,
typeface designers have
historically been men,
influential designers is Carol Twombly, when many of the Adobe Originals typefaces were planned
but one of the twentieth who worked for years in the type design and carried out in the 1990s. Together, they worked to create
century’s most department at Adobe, when many of
influential designers
the Adobe Originals typefaces were the fontface Myriad. Released as part of the Adobe Originals
is Carol Twombly, who
86 worked for years in the planned and carried out in the 1990s. series in 1992, Myriad became the flagship typeface for Adobe’s 87
type design department
at Adobe, when many
Together, they worked to create the Multiple Master font format (which enabled the design to be
fontface Myriad. Released as part of
of the Adobe Originals
rendered dynamically from light to extra bold weights, and from
typefaces were planned the Adobe Originals series in 1992,
and carried out in the
Myriad became the flagship typeface condensed to extended widths). However, the font has been
1990s. Together, they
worked to create the for Adobe’s Multiple Master font made available in a Pro character set in the OpenType format
fontface Myriad. format (which enabled the design to
Released as part of the in 2000, and its considerable reach was increased through the
6.5/8 8.5/11 11/14

Gill Sans
sa n-ser if
Eric Gill
desig ner
Eric Gill was a versatile talent, active in many
Gill Sans
disciplines from wood-engraving to sculpture and
calligraphy. In 1920s, his creative abilities turned to
type design and in 1928, Gill Sans was born. The roots
of Gill Sans can be traced to the typeface that Gill’s
teacher, Edward Johnston, designed for the signage
of the London Underground Railway in 1918. Gill’s
alphabet is the more classical in proportion and
contains what have become known as his signature
flared capital R and eyeglass lowercase g. Gill Sans is
a humanist sans serif with some geometric touches
in its structures. It also has a distinctly British feel.
88 Legible and modern though sometimes cheerfully 89
idiosyncratic, the lighter weights work for text, and
the bolder weights make for compelling display
typography. Originally Gill designed this typeface as
an uppercase set. The lowercase characters were
added in 1929, and having spent much of the 1930s
developing further weights and variation, Gill Sans now
8/10
V 7 V7
Eric Gill was a Eric Gill was a versatile talent, active in Eric Gill was a versatile talent, active in many disciplines from
Gill Sans
versatile talent, active many disciplines from wood-engraving
in many disciplines to sculpture and calligraphy. In 1920s,
wood-engraving to sculpture and calligraphy. In 1920s, his
from wood-engraving
to sculpture and
his creative abilities turned to type creative abilities turned to type design and in 1928, Gill Sans
calligraphy. In 1920s, design and in 1928, Gill Sans was born. was born. The roots of Gill Sans can be traced to the typeface
his creative abilities The roots of Gill Sans can be traced to
turned to type design the typeface that Gill’s teacher, Edward
that Gill’s teacher, Edward Johnston, designed for the signage of
and in 1928, Gill Johnston, designed for the signage of the London Underground Railway in 1918. Gill’s alphabet is the
Sans was born. The
roots of Gill Sans
the London Underground Railway in more classical in proportion and contains what have become
1918. Gill’s alphabet is the more classical
can be traced to the
in proportion and contains what have
known as his signature flared capital R and eyeglass lowercase g.
typeface that Gill’s
teacher, Edward become known as his signature flared Gill Sans is a humanist sans serif with some geometric touches
Johnston, designed capital R and eyeglass lowercase g. Gill in its structures. It also has a distinctly British feel. Legible
for the signage of the Sans is a humanist sans serif with some
90 London Underground geometric touches in its structures. It
and modern though sometimes cheerfully idiosyncratic, the 91
Railway in 1918. lighter weights work for text, and the bolder weights make
Gill’s alphabet is
also has a distinctly British feel. Legible
the more classical and modern though sometimes cheerfully for compelling display typography. Originally Gill designed this
in proportion and idiosyncratic, the lighter weights work
contains what have for text, and the bolder weights make for
typeface as an uppercase set. The lowercase characters were
become known as compelling display typography. Originally added in 1929, and having spent much of the 1930s developing
his signature flared
capital R and eyeglass
Gill designed this typeface as an further weights and variation, Gill Sans now represents one
6.7.5/9/ 8.5/10.5 9.5/11.5

Erik Spiekermann was born in 1947 in Germany. He
studied Art History and English at Berlin’s Free Univer-
sity, and went on to become an information architect,
type designer, and author. After working in London as
a freelancer, he returned to Berlin in 1979 and started
MetaDesign, Germany’s largest design firm, with two
partners. He left the company in 2001 due to some
disagreements. Spiekermann has done many commer-
cial projects and branding for world-famous clients,
including Audi, Volkswagen, Heidelberg Printing, and
Zimmer Holdings. Meta is a sans serif, humanist-style
typeface that was designed by Spiekermann. Some
distinctive characteristics include a slanted upper
92 93
terminal on letters “E”, “T”, and “F”, as well as the low-
ercase “b”, “h”, “k”, and “l” bend slightly to the left at
the top. Overall, Meta has very open apertures, unlike
Helvetica whose negative spaces are very closed. The
beginnings of Meta started with German company,
Deutsche Bundespost, who commissioned a typeface
9.5/11.5
Erik Spiekermann was
born in 1947 in Ger-
Erik Spiekermann was born in 1947 in Erik Spiekermann was born in 1947 in Germany. He studied Art
Germany. He studied Art History and
many. He studied Art History and English at Berlin’s Free University, and went on to
English at Berlin’s Free University, and
History and English at
Berlin’s Free University, went on to become an information become an information architect, type designer, and author.
and went on to become architect, type designer, and author. After working in London as a freelancer, he returned to Berlin
an information archi-
tect, type designer, and
After working in London as a freelanc- in 1979 and started MetaDesign, Germany’s largest design
er, he returned to Berlin in 1979 and firm, with two partners. He left the company in 2001 due to
author. After working in
started MetaDesign, Germany’s largest
London as a freelancer,
he returned to Berlin design firm, with two partners. He left
some disagreements. Spiekermann has done many commercial
in 1979 and started the company in 2001 due to some projects and branding for world-famous clients, including Audi,
MetaDesign, Germany’s
largest design firm, with
disagreements. Spiekermann has done Volkswagen, Heidelberg Printing, and Zimmer Holdings. Meta
two partners. He left the
many commercial projects and branding is a sans serif, humanist-style typeface that was designed by
for world-famous clients, including
company in 2001 due to
Spiekermann. Some distinctive characteristics include a slanted
94 some disagreements. Audi, Volkswagen, Heidelberg Printing, 95
Spiekermann has done and Zimmer Holdings. Meta is a sans upper terminal on letters “E”, “T”, and “F”, as well as the low-
many commercial
serif, humanist-style typeface that was ercase “b”, “h”, “k”, and “l” bend slightly to the left at the top.
projects and branding
for world-famous designed by Spiekermann. Some dis- Overall, Meta has very open apertures, unlike Helvetica whose
clients, including tinctive characteristics include a slanted negative spaces are very closed. The beginnings of Meta started
Audi, Volkswagen, upper terminal on letters “E”, “T”, and
Heidelberg Printing,
“F”, as well as the lowercase “b”, “h”,
with German company, Deutsche Bundespost, who commis-
and Zimmer Holdings.
sioned a typeface from Sedley Place Design where Spiekermann
6.5/9 8.5/11 11/13.5
DIN
san- serif
Deutsches Institut für Normung

German Institute for Standardisation
desig ner
The typeface DIN 1451is a geometric
DIN
sans serif named after Deutsches Institut
für Normung (DIN), the institution that
designed it. Also known as the German
Institute for Standardization, the Deutsches
Institut für Normung is the official German
national-standards institution responsible
for representing German interests on both
national and European levels. Designed in
1931, DIN 1451was designed to for technical
and administrative use in particular for road
96 signs. It is characterized by its legibility, 97
simplicity, and overall severe and industrial
look, symptom of its consistent stroke
value and the simple grid system on which
it was designed. Every character of DIN
1451 is of continuous width. Because of its
lean, geometric lines, it translates easily
11/12.5
7 k 7k
DIN
The typeface DIN The typeface DIN 1451is a
1451is a geometric The typeface DIN 1451is a geometric sans serif
geometric sans serif named after
sans serif named
after Deutsches Deutsches Institut für Normung
named after Deutsches Institut für Normung (DIN),
Institut für Normung
(DIN), the institution (DIN), the institution that designed the institution that designed it. Also known as the
that designed it.
Also known as the
it. Also known as the German German Institute for Standardization, the Deutsches
German Institute for Institute for Standardization, the Institut für Normung is the official German national-
Standardization, the Deutsches Institut für Normung
Deutsches Institut standards institution responsible for representing
is the official German national-
für Normung is the
official German standards institution responsible
German interests on both national and European
national-standards
institution responsible for representing German levels. Designed in 1931, DIN 1451was designed to
for representing
German interests
interests on both national and for technical and administrative use in particular
on both national and European levels. Designed in for road signs. It is characterized by its legibility,
98 European levels. 1931, DIN 1451was designed to 99
Designed in 1931, DIN simplicity, and overall severe and industrial look,
for technical and administrative
1451was designed
to for technical use in particular for road signs.
symptom of its consistent stroke value and the
and administrative
use in particular It is characterized by its legibility, simple grid system on which it was designed.
for road signs. It is
characterized by its
simplicity, and overall severe and Every character of DIN 1451 is of continuous width.
legibility, simplicity, industrial look, symptom of its Because of its lean, geometric lines, it translates
and overall severe
6.5/8 9.5/12 13/14.5

Franklin Gothic
san-serif
Morris Fuller Benton

designer
Franklin Gothic is a workhorse sans-serif typeface
Franklin Gothic
first designed by Morris Fuller Benton (1872–1948)
in 1902, and first produced by ATF in 1903. Benton
was the influential American typeface designer who
headed the design department of the American
Type Founders (ATF), for which he was the chief type
designer. “Gothic” here is another name for sans serif,
particularly in the nineteenth century. Franklin Gothic is
based on earlier nineteenth century sans serif models.
It was named in honor of that prolific American printer,
Benjamin Franklin. Benton designed many variations
on the face, including condensed, wide, and shaded
100 variations. The various variations in the Franklin Gothic 101
family were issued over a period of ten years, all of
which were designed by Benton and issued by A.T.F. It
was popular enough with printers that it was produced
in monotype and linotype versions, and there are many
digital versions of the face available to designers today.
Franklin Gothic is an extra-bold sans-serif type which
9.5/12
R 4 4R
Franklin Gothic is a Franklin Gothic is a workhorse sans- Franklin Gothic is a workhorse sans-serif typeface first designed by
Franklin Gothic
workhorse sans-serif
serif typeface first designed by Morris Morris Fuller Benton (1872–1948) in 1902, and first produced by
typeface first designed
Fuller Benton (1872–1948) in 1902,
by Morris Fuller Benton ATF in 1903. Benton was the influential American typeface designer
(1872–1948) in 1902, and first produced by ATF in 1903.
and first produced by Benton was the influential American
who headed the design department of the American Type Founders
ATF in 1903. Benton typeface designer who headed the (ATF), for which he was the chief type designer. “Gothic” here is
was the influential
design department of the American another name for sans serif, particularly in the nineteenth century.
American typeface
designer who headed Type Founders (ATF), for which he was Franklin Gothic is based on earlier nineteenth century sans serif
the design department the chief type designer. “Gothic” here is models. It was named in honor of that prolific American printer,
of the American Type another name for sans serif, particularly Benjamin Franklin. Benton designed many variations on the face,
Founders (ATF), for
in the nineteenth century. Franklin including condensed, wide, and shaded variations. The various
which he was the
Gothic is based on earlier nineteenth
chief type designer. variations in the Franklin Gothic family were issued over a period
“Gothic” here is another century sans serif models. It was named
in honor of that prolific American of ten years, all of which were designed by Benton and issued by
102 name for sans serif,
103
particularly in the printer, Benjamin Franklin. Benton A.T.F. It was popular enough with printers that it was produced
nineteenth century.
designed many variations on the face, in monotype and linotype versions, and there are many digital
Franklin Gothic is based
on earlier nineteenth including condensed, wide, and shaded versions of the face available to designers today. Franklin Gothic
century sans serif variations. The various variations in the is an extra-bold sans-serif type which can be distinguished from
models. It was named Franklin Gothic family were issued over other sans serif typefaces by its double-story g and a. Other main
in honor of that prolific
a period of ten years, all of which were
American printer, distinguishing characteristics are the tail of the Q and the ear of
6.5/9 8.5/11 10.5/12.5

Gotham
san-seri f
Hoefler & Frere-Jones

desi gners
After receiving his BFA from Rhode Island
Gotham
School of Design, American type designer
Tobias Frere-Jones went on to create
numerous typefaces during his time at Font
Bureau, Inc., among them Interstate, Poynter
Oldstyle, and Gothic. In 1999, he went on to
partner with his friend Jonathan Hoefler to
found Hoefler & Frere-Jones Typography.
The partnership quickly gained clientele
from all various fields and publications. From
The New York Times to Harper’s Bazaar to
Apple to Nike to Gucci and even Barack
104 Obama’s 2008 presidential campaign. 105
When GQ magazine would later commission
Frere-Jones in 2000 to create a signature
sans-serif with a “geometric structure” that
would look “masculine, new, and fresh” with
a credible voice, that would bring about the
invention of one of the most recognizable
9.5/12
n k nk
After receiving his After receiving his BFA from After receiving his BFA from Rhode Island School of
Gotham
BFA from Rhode Rhode Island School of Design,
Island School of Design, American type designer Tobias Frere-Jones
American type designer Tobias
Design, American
Frere-Jones went on to create went on to create numerous typefaces during his time
type designer
Tobias Frere- numerous typefaces during his at Font Bureau, Inc., among them Interstate, Poynter
Jones went on to time at Font Bureau, Inc., among Oldstyle, and Gothic. In 1999, he went on to partner
create numerous them Interstate, Poynter Oldstyle,
typefaces during
with his friend Jonathan Hoefler to found Hoefler &
and Gothic. In 1999, he went on to
his time at Font
partner with his friend Jonathan Frere-Jones Typography. The partnership quickly gained
Bureau, Inc., among
them Interstate, Hoefler to found Hoefler & Frere- clientele from all various fields and publications. From
Poynter Oldstyle, Jones Typography. The partnership The New York Times to Harper’s Bazaar to Apple to Nike
and Gothic. In quickly gained clientele from all to Gucci and even Barack Obama’s 2008 presidential
1999, he went on various fields and publications.
to partner with his From The New York Times to
campaign. When GQ magazine would later commission
106 friend Jonathan
Harper’s Bazaar to Apple to Nike Frere-Jones in 2000 to create a signature sans-serif with 107
Hoefler to found
Hoefler & Frere- to Gucci and even Barack Obama’s a “geometric structure” that would look “masculine,
Jones Typography. 2008 presidential campaign. new, and fresh” with a credible voice, that would bring
The partnership When GQ magazine would later
quickly gained commission Frere-Jones in 2000 to
about the invention of one of the most recognizable
clientele from create a signature sans-serif with a typefaces known today as Gotham. With the goal of
all various fields
and publications.
“geometric structure” that would allowing the typeface to exhibit the mathematical
6.5/9 8/10.5 10.5/13

This book is the result of a project completed for Mark Laughlin’s
Typography I class. The aim of this project was to gain familiarity
with the 24 given typefaces. The type specimens serve as a
resource reference for checking the appropriate size and leading
for each typeface in various column widths. The logotypes are
composed from two letterforms of the same typeface, combined
and abstracted in order to create a new form that would be
suitable for a logo. The layout of this book is based on a grid
system that remains consistent throughout.
108

973 Ee 485 F 58 CB 1624644

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Contents Serif San Serif

1 Baskerville 9 Minion 13 Akzidenz Grotesk Bold 21 Meta

2 Bembo 10 Serifa 14 Frutiger 22 DIN

Baskerville’s typeface was part of an ambitious

7.5/9 9.5/11 11.5/12.5

Francesco Griffo was a type founder, punch

8.5/10 9.5/11 13.5/14.5

Berthold City is a slab serif typeface designed by

7.5/10 9.5/11.5 12/14.5

Giambattista Bodoni (1740 - 1813) was an Italian

William Caslon started his career engraving government

Firmin Didot, born 1974 in Paris, is best remem-

7/9 8.5/11 11/13.5

The designer of Garamond, Garamond Claude, was born

Robert Slimbach was born in Evanston, Illinois in

Horst Heiderhoff & Adrian Frutiger

Serifa was designed by Adrian Frutiger for the

7/8.5 8/10 11/12.5

One of the main leaders of the Elementare

8/10 8.5/10.5 11/13

Stanley Morison & Victor Lardent

Times New Roman is a serif typeface commissioned

Times New Roman

Times New Roman

7/9 8/10 8/10

6.5/8.5 8/11 10.5/12.5

Frutiger is a sans-serif typeface by the Swiss type

6/7.5 7.5/10 10/11.5

Paul Renner was an eminent twentieth century

8/11 9.5/11.5 11.5/14.5

Max Meidinger & Edouard Hoffman

In 1957, Max Miedinger, a Swiss typeface designer

6/7 7.5/9.5 10/12.5

Max Meidinger & Edouard Hoffman

Helvetica was developed in 1957 by Max

7/9 7.5/9.5 11/13

Robert Slimbach & Carol Twombly

Robert Slimbach began concentrating on type and

6.5/8 8.5/11 11/14

Eric Gill was a versatile talent, active in many

6.7.5/9/ 8.5/10.5 9.5/11.5

Deutsches Institut für Normung

The typeface DIN 1451is a geometric

6.5/8 9.5/12 13/14.5

Morris Fuller Benton

Franklin Gothic is a workhorse sans-serif typeface

6.5/9 8.5/11 10.5/12.5

Hoefler & Frere-Jones

After receiving his BFA from Rhode Island

6.5/9 8/10.5 10.5/13

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