Allyssa Rainn B.

Abrogena MMA121P_AM20

Writing an Analysis of different Types in a specific time period.

‘Old-Style Typeface’
1500s - 1700s

According to Farley (2009), the Old Style typeface is based on hand lettering scribs which
first appeared during the 15th century. As noticed by the photo, this typeface involves a moderate
transition from thick to thin lines and seems to appear as if being written by a pen. Further added
by Faley, another characteristic to describe the typeface is that the thick to thin line transitions are
not too obvious in comparison to modern typefaces. It was also pointed out that the serifs of the
Old Style are angled and the stresses appear to be in diagonal if one would draw a line across the
thinnest parts. Furthermore, this type of typeface is best used for a large body of texts hence it is
mostly seen in books, magazines, newspapers, and some academic writing. Sample fonts of
this typeface are: Baskerville, Goudy Old Style, Perpetua, Palatino Linotype, Cheltenham and the
famous Times New Roman.

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 The Goudy Old Style is an old-style serif typeface designed by Frederic W. Goudy and
published by American Type Founders in 1915. It has a lot of unusual characteristics to it, like the
sharp curve on the ear of the g and the diamond-shaped dots used on the i, j, and period.
Many consider this typeface to be one of the most legible and readable ever created, especially when
used on printed media. Although Goudy Old Style is a good choice, its subtle forms and
embellishments make it a poor choice for screen display, especially in smaller point sizes. Its
legibility suffers significantly in this medium and should not be utilized in huge amounts of small
types online. Furthermore, the beauty and elegance of Goudy Old Style can be a hurdle for creatives
who need fun and lightheartedness. Moreover, Goudy Old Style's traditional charm can also make a
design feel outdated.

In 1896, architect Bertram Goodhue and Cheltenham Press director Ingalls Kimball
collaborated on the design of the Cheltenham. It was a display typeface influenced by the then-new
Arts and Crafts movement, and its original designs, initially dubbed Boston Old Style, were 14" tall.
Goodhue designed the alphabet of rather monotonous construction, including serifs similar to
the Clarendon style of fifty years earlier. It was in the treatment of ascenders and descenders that
Goodhue's premise was most evident. Believing that the upper half of a line of type is more
important for recognition, the designer lengthened the ascenders and shortened the descenders
of the letters. As a result, long ascenders and short descenders were incorporated into the design.
The final design was then created by American Type Founders' famed designer Morris Fuller
Benton. The first comprehensive type family. In 2003, the New York Times' Tom Bodkin hired
typeface designer Mathew Carter for headline use, which was one of the most famous uses for the
ITC Cheltenham. Since 1906, the publication has used the original Cheltenham font as a headline
font, along with numerous others.

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 Palatino is Hermann Zapf's type design, and it is possibly his most widely admired and used
type design. Palatino's design was adjusted for legibility by Zapf, who gave it open counters and
finely weighted strokes, resulting in a typeface that was legible even on the inferior paper of the
post-World War II period. Palatino is suitable for both text and display typography. Although
based on Renaissance humanistic serif designs, the Palatino design is simpler to read since its strokes
are lighter, and its proportions are greater than the smaller Renaissance letters. Because of its
improved readability, it was a good fit for the subpar paper used by newspapers and magazines at the
time of its publication. With the addition of multiple weights, italics, and titling styles, as well
as non-Latin letter and symbol sets, it evolved into a typeface superfamily. Palatino is a
versatile typeface that may be used in a variety of settings and for a variety of purposes. It's a popular
corporate typeface for advertising headlines, text, and other display applications. Because of
its open counters, it is easily readable even on poor-quality paper, making it suitable for newspapers
and handbills. Due to its light lines and big letter size, it is exceptionally legible even in very small
sizes, such as instruction manuals, Internet, and typeset books.

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 REFERENCES

Challand, S. (2010). Know your type: Cheltenham: idsgn (a design blog). Design and branding news:
idsgn (a design blog). https://idsgn.org/posts/know-your-type-cheltenham/

Coale, B. (n.d.). Goudy old style, the graceful typeface. Premium Quality Printing in California |
Casey Printing.
https://www.caseyprinting.com/blog/2013/typography/goudy-old-style-the-graceful-typef
ace
Farley, J. (2009, October 9). The Old Style Typeface. Sitepoint.
https://www.sitepoint.com/the-old-style-typeface/

ITC. (n.d.). ITC Cheltenham® Font family typeface story. Fonts.com.

https://www.fonts.com/font/itc/itc-cheltenham/story
Linotype. (n.d.). Palatino® Font family typeface story. Fonts.com.
https://www.fonts.com/font/linotype/palatino/story
Old Style (aka Garalde)-1500s-1700s [Online Image]. (2015). Spoon Graphics.
https://blog.spoongraphics.co.uk/articles/a-history-of-typeface-styles-type-classification
Palatino in use. (n.d.). fontsinuse.com. https://fontsinuse.com/typefaces/3361/palatino

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