Type face & Desig ner
A compilation of typefaces and their designers.
The action or process of producing something, especially a list or book, by assembling information collected from other sources.
Chris Venning Arron Patel
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G ok d i He ll S ma on Fu lv an n Av tu eti s Ve en ra ca M rd ir O yra an Ba pti id a sk ma Pr o e es rv ill N ni e e w Ro nd m an
Pa Ad M ri Ro att a He be he Jo rm rt V hn a Sl G icto B nn i Cl iam r ask Za W au ba Lar er p Ro illi de tt de vil A be am Ga ista nt le le r & Er xa t Ca ram S
a M ric and Be slo mo Pa ax Gil er sle n nd Ad ul Mi l Ph y M ri Re ed em Ro att an nn ing i s F e h te e He be e ru r r r Jo rm rt w ti hn a Sl Ca ge ct B nn im rte r or as Z ba r ap c k L ba ar er f h & tt de vil Ca Ga ist nt le r a ol ra & S
Designer Portraits /
Designer Portraits /
cOnT enTs T
T&D / One
T&D / five
Gill Sans and Eric Gill
Verdana and Matthew Carter
T&D / Two
T&D / six
Helvetica and Max Miedinger
Myraid Pro and R. Slimback / C. Twombly
T&D / Three
T&D / seven
Futura and Paul Renner
Optima and Hermann Zapf
26 T&D / four Avenir and Adrian Frutiger
T&D / eight
T&D / Twelve
Baskerville and John Baskerville
Caslon and William Caslon
T&D / nine
T&D / Thirteen
Times New Roman and V.Lardent / S.Morison
Clarendon and Robert Besley
T&D / Ten
T&D / fourteen
Bodoni and Giambattista
Bookman and Alex Phemister
T&D / eleven
Garamond and Claude Garamont
N u mb e r / O NE
T y p e fa c e / GI L L SANS
The original design appeared in 1926 when Douglas
Cleverdon opened a bookshop in his home town of Bristol, where Gill painted the fascia over the window in sans-serif capitals that would later be known as Gill Sans. In addition, Gill had sketched a design for Cleverdon, intended as a guide for him to make future notices and announcements. Gill further developed it into a complete font family after Stanley Morison commissioned the development of Gill Sans to combat the families of Erbar, Futura and Kabel which were being launched in Germany during the latter 1920s. Gill Sans was later released in 1928 by
Monotype Corporation. Eric Gill attempted to make
the ultimate legible sans-serif text face. Gill Sans was designed to function equally well as a text face and for display.
g/ Born /
Gill San s
D ESIGNER / ERIC GI L L
Gill was born in 1882 in Steyning, Sussex. He was the elder brother of Max Gill, a well known graphic artist. In 1897 the family moved to Chichester. He studied at Chichester Technical and Art School, and in 1900 moved to London to train as an architect with the practice of W.D. Caroe, specialists in ecclesiastical architecture. Frustrated with his training, he took evening classes in stonemasonry at Westminster Technical Institute and in calligraphy at the Central School of Arts and Crafts, where Edward Johnston, creator of the London Underground typeface,
became a strong influence. In 1903 he gave up his architectural training to become a calligrapher, letter-cutter and monumental mason.
NU M B ER / T wo
T y p e fa c e / H e lv e t i c a
Helvetica was developed in 1957 by Max Miedinger
with Eduard Hoffmann in Switzerland. Originally called Neue Haas Grotesk, it's design was based on Schelter-Grotesk and Haas' 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 could be used on a wide variety of signage.
When Linotype adopted Neue Haas Grotesk it's design was reworked. In 1960, the typeface's name was changed by Haas' German parent company Stempel to Helvetica in order to make it more
H/ Born /
1910 - 1980
Hel veti ca
D ESIGNER / Max Miedinger
Max Miedinger was born on Christmas day, 1910, in Zurich Switzerland. When he was 16 years old, he became an apprentice typesetter in the book printing office of Jacques Bollmann in Zurich. After four years of apprenticeship in the book office, Miedinger entered the School of Arts and Crafts, Abendkurse in Zurich. At the age of 26, he became a typographer in the advertising studio of the Globe department store chain. After ten years at the Globe, he became a representative for the Type Foundry Haas in Basel Switzerland. In 1957 he revised a typeface called
Akzidenze Grotesk. Little did he know, in the later 20th century, his neue sans serif typeface would become the default typeface for most software packages under it's new name, Helvetica.
NU M B ER / Three
T y p e fa c e / f u t u ra
Futura is a geometric sans-serif typeface designed in
1927 by Paul Renner. It is based on geometric shapes that became representative of visual elements of the Bauhaus design style. Commissioned by the Bauer Type Foundry, Futura was commercially released in 1936. The family was originally cast in Light, Medium, Bold, and Bold Oblique fonts in 1928. Light Oblique, Medium Oblique, Demibold, and Demibold Oblique fonts were later released in 1930. Book font was released in 1932. Book Oblique was released in 1939.
Classification / Sans-serif
F/ Born /
1878 - 1956
D ESIGNER / Pa u l Renner
Paul Renner was a typeface designer. In 1927, he designed the Futura typeface, which became one of the most successful and most-used types of the 20th century. He was born in Wernigerode, Germany.
He was brought up to have a very German sense of leadership, duty and responsibility. He was suspicious of abstract art and disliked many forms of modern culture, such as jazz, cinema, and dancing. But equally, he admired the functionalist strain in
modernism. He created a new set of guidelines for good book design and invented the popular Futura, a geometric sans-serif font used by many typographers throughout the 20th century and today.
NU M B ER / Fo u r
T y p e fa c e / av e n i r
Avenir is a geometric sans-serif typeface designed
by Adrian Frutiger in 1988. The word avenir is French for "future". The font takes inspiration from the early geometric sans-serif typefaces Erbar (1922), designed by Jakob Erbar, and Futura (1927), designed by Paul Renner. Frutiger intended Avenir to be a more organic, humanist interpretation of these highly geometric types. Avenir was originally released in 1988 with three weights. The typeface family was later expanded to six weights, each with a roman and an oblique version.
Classification / Sans-serif
a/ Born /
D ESIGNER / Ad r i a n f ru t i g e r
Frutiger was born in 1928 in Switzerland. He grew up in a green valley bordered by lakes amid the Bernese Alps. In his youth, Frutiger became acutely aware of letterforms. At 15, he rebelled against the strict Hulliger method of handwriting taught in German-Swiss schools. He grew interested in the work of writer and teacher Ernst Eberhart, preferring to emulate his freer method of handwriting. Frutiger cut his pen down to a broad nib and made his letterforms open and round. Those first specimens started him on the path to finding his unique style. He
maintained an interest in calligraphic lettering.
NU M B ER / Five
T y p e fa c e / v e r da n a
Verdana is a humanist sans-serif typeface designed
by Matthew Carter for Microsoft Corporation. Demand for such a typeface was recognized by Virginia Howlett of Microsoft's typography group. The name Verdana is based on verdant (something green), and Ana (the name of Howlett's eldest daughter). Bearing similarities to humanist sans-serif typefaces such as Frutiger, Verdana was designed to be readable at small sizes on a computer screen.
Classification / Sans-serif
V/ Born /
Ver dan a
D ESIGNER / M atth e w C a rt e r
Matthew Carter was born in London on the 1st of October 1937. He is a type designer and the son of the English typographer Harry Carter (1901â€“1982). He lives in Cambridge, Massachusetts, United States. He designed the early 1.0 web fonts Verdana and Georgia. In 2010, he was named a MacArthur Fellow.
33 Designer Five
NU M B ER / six
T y p e fa c e / my ri ad p ro
Myriad is a humanist sans-serif typeface designed
by Robert Slimbach and Carol Twombly for Adobe
Systems. The typeface is best known for it's usage by Apple Inc., replacing Apple Garamond as Apple's corporate font since 2002. Myriad is easily distinguished from other sans-serif fonts due to it's special y descender and slanting e cut. Adobe's Myriad is the typeface used in Apple's modern marketing. Recent iterations of the iPod used Podium Sans, which has similarities with Myriad, for it's user interface. However, the iPod Touch and iPhone 3G replaced Podium Sans with Helvetica. Myriad was
included with the third generation of iPod.
M/ Born / R. Slimbach 1956 C. Twombly
Myr iad Pro
D ESIGNER / rob e r t s l i mb a c h & C a rol T wombly Robert Slimbach is an American type designer, on staff with Adobe since 1987. He received the Charles Peignot Award from ATypI for excellence in type design in 1991. He has also designed typefaces for ITC.
Carol Twombly, born in America 1959, is a calligrapher and typeface designer. As a child, Twombly was always interested in artistics forms, and explored many different artistic disciplines. It was through this that Twombly discovered her love for sculpture
which she then went on to study and the Rhode Island School of Design. After arriving at the school, Twombly then changed her focus from sculpting to design.
NU M B ER / Seve n
T y p e fa c e / opt i ma
Optima is a humanist sans-serif typeface designed
by Hermann Zapf between 1952 and 1955. Though classified as a sans-serif, Optima has a subtle swelling at the terminal producing a suggestion of a glyphic serif. Optima's design follows humanist lines, but it's italic variant is merely an oblique, essentially a sloped roman without characteristic italic letterforms such as a single-storey a and rounded base of v and w. This is more typical of a realist sans-serif such as Helvetica. Optima and Palatino are trademarks of Linotype (a Monotype company).
Classification / Sans-serif
O/ Born / 1918
D ESIGNER / Hermann Zapf
Hermann Zapf was born on November the 8th, 1918. He is a German typeface designer who lives in Darmstadt, Germany. He is married to calligrapher and typeface designer Gudrun Zapf Von Hesse.
Zapf's work, which includes Palatino and Optima, has been widely copied, often against his will. The best known example may be Monotype's Book Antiqua, which shipped with Microsoft Office and was widely considered a knockoff of Palatino. In 1993, Zapf resigned from ATypI (Association Typographique
Internationale) over what he viewed as it's hypocritical attitude toward unauthorized copying by prominent ATypI members.
NU M B ER / E i g ht
T y p e fa c e / b a s k e rv i ll e
Baskerville is a transitional serif typeface designed
in 1757 by John Baskerville. Baskerville is classified as a transitional typeface, positioned between the old style typefaces of William Caslon, and the newer styles of Giambattista Bodoni & Firmin Didot. The Baskerville typeface is the result of John Baskerville's intent to improve upon the types of William Caslon. He increased the contrast between thick and thin strokes, making the serifs sharper and more tapered, and shifted the axis of rounded letters to a more vertical position. The curved strokes are more circular in shape, and the characters became more regular.
These changes created a greater consistency in size.
B/ Born / 1706 - 1755
Bas ker ville
D ESIGNER / J oh n B a s k e rv i ll e
Baskerville was born in the village of Wolverley, near Kidderminster in Worcestershire and was a printer in Birmingham, England. He was a member of the Royal Society of Arts, and an associate of some of the members of the Lunar Society. He directed his punchcutter, John Handy, in the design of many typefaces of broadly similar appearance. In 1757, Baskerville published a remarkable quarto edition of Virgil on wove paper, using his own type. It took three years to complete, but it made such an impact that he was appointed printer to the University of
Cambridge the following year.
NU M B ER / Nine
T y p e fa c e / Times new rom a n
Times New Roman is a serif typeface commissioned
by the British newspaper, The Times, in 1931,
created by Victor Lardent. It was commissioned after Stanley Morison had written an article criticizing The Times for being badly printed and typographically antiquated. The font was supervised by Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older font named Plantin as the basis for his design, but made revisions for legibility and economy of space. Morison's revision became known as Times New Roman. After one year, the design was released
for commercial sale. Because of its popularity, the
typeface has been influential in the subsequent development of a number of serif typefaces both before and after the start of the digital-font era.
T/ Born / V. Lardent 1905 - 1968 S. Morison
1889 - 1967
Times New Roman
D ESIGNER / V IC T O R L AR D EN T & S TAN L EY M O RIS O N Victor Lardent was a British advertising designer and draftsman at The Times, London. He created the font Times New Roman under the direction of Stanley Morison in 1932.
Stanley Morison was a British typographer, designer and historian of printing. He was one of the most influential type-designers of the 20th century, having designed the Times New Roman typeface and historical revivals for the Monotype Corporation.
49 Designer Nine
NU M B ER / ten
T y p e fa c e / B odo n i
Bodoni is a series of serif typefaces first designed
by Giambattista Bodoni. Bodoni followed the ideas of John Baskerville. Some digital versions of Bodoni are said to be hard to read due to "dazzle" caused by the alternating thick and thin strokes, particularly as the thin strokes are very thin at small point sizes. This only occurs when display versions are used at text sizes, and it is also true of much display type that is used at text sizes.
Classification / Serif
B/ Born /
1740 - 1813
D ESIGNER / GIA M B AT T IS TA B O D O NI
Giambattista Bodoni was an Italian typographer, type-designer, compositor, printer and publisher in Parma. Bodoni designed many type-faces, each one in a large range of type sizes. He is even more admired as a compositor than as a type-designer, as the large range of sizes which he cut enabled him to compose his pages with the greatest possible subtlety of spacing. Like Baskerville, he sets off his texts with wide margins and uses little or no illustrations or decorations. There have been several modern revivals of his type-faces, all called Bodoni.
They are often used as display faces.
NU M B ER / El e v e n
T y p e fa c e / g a r a mo n d
Garamond is the name given to a group of old-style
serif typefaces named after the punch-cutter Claude Garamont. Many of the Garamond faces are more closely related to the work of a later punchcutter, Jean Jannon. A direct relationship between Garamond's letterforms and contemporary type can be found in the Roman versions of the typefaces Adobe Garamond, Granjon, Sabon, and Stempel Garamond. Garamond's letterforms convey a sense of fluidity and consistency. Garamond is considered to be among the most legible and readable serif typefaces for use in print. Some unscientific studies
have periodically noted that it uses much less ink than
Times New Roman. Garamond has been identified by the GSA as a toner efficient font.
g/ Born /
1490 - 1561
Gar amo nd
D ESIGNER / Cl a u d e G a r a mo n t
Claude Garamont known commonly as Claude Garamond was a French publisher and punch-cutter from Paris. Garamond was the first to specialize in type design and punch-cutting as a service to others. As the first type designer and punch-cutter to sell his punches in retail to other printers, Garamond led on the establishment of the trend for many other typographers, punch-cutters, printers, and publishers to make the same sales in retail, which helped spread new typefaces all around. He was one of the leading type designers of his time.
57 Designer Eleven
NU M B ER / T w e lv e
T y p e fa c e / C a s lo n
Caslon is a group of serif typefaces designed
by William Caslon. Caslon shares the irregularity characteristic of Dutch Baroque types. It is characterized by short ascenders and descenders, bracketed serifs, moderately high contrast, robust texture, and moderate modulation of stroke. The A has a concave hollow at the apex, the G is without a spur. Caslon's italics have a rhythmic calligraphic stroke. Characters A, V, and W have an acute slant. The italic p, Q, v, w, and z all have a suggestion of a swash.
Classification / Serif
C/ Born /
1693 - 1766
D ESIGNER / W i ll i a m C a s lo n
William Caslon was an English gunsmith and designer of typefaces. He was born at Cradley, Worcestershire, and in 1716 started business in London as an engraver of gun locks and barrels, and as a bookbinder's tool cutter. Having contact with printers, he was induced to fit up a type foundry, largely through the encouragement of William Bowyer. The distinction and legibility of his type secured him the patronage of the leading printers of the day in England and on the continent.
61 Designer Twelve
NU M B ER / T h i rt e e n
T y p e fa c e / Cl a r e n do n
Clarendon is an English slab-serif typeface that was
created in England by Robert Besley for Thorowgood and Co. a type company formerly known as the Fann Street Foundry until approximately 1838. The typeface was published in 1845 after Besley, an employee of the foundry since 1826, was made a partner in the firm. Due to its popularity, Besley registered the typeface under Britain's Ornamental Designs Act of 1842. The patent expired three years later, and other foundries were quick to copy it. Clarendon is considered the first registered typeface.
Classification / Serif
C/ Born / 1794 - 1876
Clar end on
D ESIGNER / Rob e r t B e s ley
Robert Besley was an English typographer, creator of the typeface Clarendon in 1845 and the Lord Mayor of London in 1869. When Besley created Clarendon he had it patented, as England just passed a bill allowing that. The typeface became so popular, though, that the copyright was soon broken by people creating copies.
65 Designer Thirteen
NU M B ER / Fo u r t e e n
T y p e fa c e / B oo k m a n
Bookman is a serif typeface derived from Old Style
Antique and designed by Alexander Phemister in 1858 for Miller and Richard foundry. Several American foundries copied the design, including the Bruce Type Foundry, and issued it under various names. In 1901, Bruce refitted their design, made a few other improvements, and rechristened it Bartlett Oldstyle. Bookman was designed as an alternative to Caslon, with straighter serifs, making it more suitable for book and display applications. It maintains it's legibility at small sizes, and can be used successfully for headlines and in advertising. In 1936.
Classification / Serif
B/ Born /
1829 - 1894
Boo kma n
D ESIGNER / Al e x a n d e r Ph e m i s t e r
Alexander Phemister was born in Edinburgh, Scotland. As a mere lad he showed unusual aptitude for designing letters. He naturally became interested in printing types, and at an early age bound himself as an apprentice to William Grandison, Edinburgh, a famous punch cutter. Graduating at the age of twenty-three, Mr. Phemister's work immediately attracted the attention of Messrs. Miller & Richard, the Scotch type founders, and while in their employ he cut several series of romans, so advancing the style of body-type faces as to make this house
famous with English publishers.
Typeface & Designer
ype ace & sig
Typeface & Designer
Howard Coster, National Portrait Gallery, London
Carter, Sebastian. Twentieth Century Type Designers. W.W. Norton, 1995. ISBN 0-393-70199-9.
Blackwell, Lewis. 20th Century Type. Yale University Press: 2004. ISBN 0-300-10073-6.
Johnson, Jaspert & Berry. Encyclopedia of Type Faces. Cassell & Co, 2001. ISBN 1-84188-139-2.
Fiedl, Frederich, Nicholas Ott and Bernard Stein. Typography: An Encyclopedic Survey of Type Design and Techniques Through History.
Image: Image: linotype.com/522/maxmiedinger C. Twombly / www.photoshopmagazin.com Text: R. Slimbach / www.identifont.com Lawrence W Wallis. Modern Encyclopedia of Typefaces 1960-90. Lund Humphries Publishers Ltd: 2000. ISBN 0-85331-597-1.
22-25 Image: www.linotype.com/762/paulrenner Text:
typekit.com/fonts/myriad-pro Loyola University Chicago Brand & Graphic Standards. Loyola University Chicago. Retrieved 2009-07-19.
38-41 Image: designindaba.com/profiles/hermann-zapf Text:
The Bauhaus Designer Paul Renner. Creativepro.com. About Steile Futura. Mitja-m.com. Hausschriften-Liste. Typografie.info. Ronson, Jon (27 March 2004). Citizen Kubrick. The Guardian.
Margaret Re, Johanna Drucker, Matthew Carter, James Mosley. Typographically Speaking: The Art of Matthew Carter. Princeton Architectural Press: 2003. ISBN 1-56898-427-8, ISBN 978-1-56898-427-8.
CANM605, Picassa Text: The Bauhaus Designer Paul Renner. Creativepro.com. About Steile Futura. Mitja-m.com. Hausschriften-Liste. Typografie.info.
Blackwell, Lewis. 20th Century Type. Yale University Press: 2004. ISBN 0-300-10073-6. Fiedl, Frederich, Nicholas Ott and Bernard Stein. Typography: An Encyclopedic Survey of Type Design and Techniques Through History. Black Dog & Leventhal: 1998. ISBN 1-57912-023-7.
Benton, Josiah Henry (1914). John Baskerville: Type-founder and Printer, 1706–1775. Boston: The Merrymount Press.
Bringhurst, Robert (2012). The Elements of Typographic Style (4th ed.). Hartley & Marks. ISBN 978-0-88179-212-6.
Gaskell, Philip (1973). John Baskerville: A Bibliography. Paul P. B. Minet. ISBN 0-85609-029-8. Pardoe, Frank Ernest (1975). John Baskerville of Birmingham Letter-Founder and Printer. London: Frederick Muller, Ltd.
Meggs, Philip B. & Carter, Rob (1993), Typographic Specimens: The Great Typefaces, New York: Van Nostrand Reinhold, ISBN 0-442-00758-2
John Faber Text:
Chisholm, Hugh, ed. (1911). Caslon. Encyclopedia Britannica (11th ed.). Cambridge University Press.
Image: Janet Stone. npg.org.uk Text:
Loxley, Simon (2006). Type: the secret history of letters. I. B. Tauris & Co. Ltd. pp. 130–131. ISBN 1-84511-028-5. Carter, H. G. (2004). Morison, Stanley Arthur (1889–1967). Oxford Dictionary of National Biography,. rev. David McKitterick. Oxford University Press.
Image: igniteprovidence.com Text:
MacGrew, Mac, American Metal Typefaces of the Twentieth Century, Oak Knoll Books, New Castle Delaware, 1993, ISBN 0-938768-34-4, p. 45.
Selections from the specimen book of the Fann Street Foundry. Archive.org. Retrieved 2013-11-11. Haralambous, Yannis; P. Scott Horne (2007). Fonts & Encodings. O'Reilly. p. 397. ISBN 0-596-10242-9.
66-69 Image: oakknollbooks.wordpress.com Text:
Neil Macmillan (2006). An A-Z of type designers. Yale University Press. p. 146. ISBN 0-300-11151-7. Retrieved 2009-08-21.
Jaspert, W. Pincus, W. Turner Berry and A.F. Johnson. The Encyclopedia of Type Faces. Blandford Press Lts.: 1953, 1983, ISBN 0-7137-1347-X, p. 25.
Type face & Desig ner
Typeface & Designer Printed in Australia 2014