Type Specimen Booklets — Advanced Typography, Munich University of Applied Sciences

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µ

Benton a typeface story

Typefont by Christian Robertson

Mr Eaves Sans

MODERN DISPLAY

a typeface by Zuzana Licko

&

Created by Oswald Bruce Cooper Adobe Originals

a Benton Modern addition by the hands of Dyana Weissman and Richard Lipton

Roboto

&

Cooper Black

SLAB >> MONO >>

ANTIQUE OLIVE

†

D

Adobe Caslon

by William Caslon I & Carol Twombly

DI DOT

DEMOCRATICA a typeface by Miles Newlyn

a typeface designed by Adrian Frutiger

a typeface by Roger Excoffon

Bodoni a typeface by Giambattista Bodoni

IIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIII IIIIIDAVIDIII IIIIIIIIIIIIIIIII IIBERLOWII IIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIII IIMODERNO IIIIIIIIIIIIIIIII IIIIIIIIIIFBIII IIIIIIIIIIIIIIIII

№ ROBOTO SLAB

a typeface by Christian Robertson

Hi, I’m Lato !

A TYPEFACE DESIGNED BY Łukasz Dziedzic

◊∆»»∆◊

first modern font

Adobe Garamond

S

1

E

1

R

1

a typeface by Julieta Ulanovsky

L1 D

C

H

3

K

I

W

O

E

S

5

4

A

1

W

4

L F

4

1

F

O

1

Montserrat

I

L

1

1

1

I A

4

1

1

1

1

1

I

PT Serif

4

2

1

C

3

K

5

N1 D 2 O O T S

1

1

3

1

D M H H

2

3

4

4

E E O Y

1

№ a typeface by Alexandra Korolkova, Olga Umpeleva and Vladimir Yefimov

N

1

1

1

4

a Typeface by Frank Hinman Pierpont

Type Designer Robert Slimbach Original Typeface by Claude Garamond

Type Specimen Booklets Designed by the students in Advanced Typography Munich University of Applied Sciences

Welcome The type specimen booklets to follow were an assignment for Advanced Typography at Munich University of Applied Sciences taught online by Professor Lorraine Donegan from Cal Poly San Luis Obispo in California.

This project combined the technical and creative considerations for designing an 8-page type study booklet using Adobe InDesign. The students chose a typeface then researched the typeface and its history. In addition they researched the history of the type designer and if possible, the designer’s intention for designing the typeface. ______ This type specimen booklet was published in May 2020 using Issuu.com.

ANTIQUE OLIVE

a typeface by Roger Excoffon

Antique Olive Nord (white) compared to Helvetica Bold

SOME FONTS HAVE MORE CHARACTER THAN IS GOOD FOR THEM. The Antique Olive, developed for Air France, is a case in point — in the typeface market, it was conceived as a counterpart to Helvetica and Univers, but it is proving to be too much of a character to stand up to the top dogs.

Aerial Roots: Air France The forerunner of the Antique Olive was developed in 1960 by Roger Excoffon, the artistic director of the French airline Air France, under the name ‘Nord’ as logo lettering and for the design of advertising posters.

Marseille, who is a friend of Excoffon, developed the Nord into a complete character set and then expanded it into an entire font family. This was published

by Fonderie in 1969 under the name Antique Olive.

Excoffon initially drew only the lettering now known as Antique Olive-Nord and Antique Olive-Nord Italic for use by Air France. Only Marcel Olive, the owner of the Fonderie Olive type foundry in

The part of the name Antique — in German typographical usage, Antiqua stands for a serif typeface — is explained by the French meaning of the word, which denotes a sans serif.

Air France logo as used until 2009 (source: https://seeklogo.com/vector-logo/5089/air-france)

Development & characteristics Following the expansions to include bold, extra bold, narrow and narrow bold cuts between 1963 and 1969, the Antique Olive is finally available in a wide range of line widths from Normal (with italics) to Ultra Bold (as Antique Olive Nord) and in three different barrel widths from Condensed to Wide.

The Antique Olive is placed as a competitor to the sans serif Helvetica (Haasche type foundry) and Univers (Deberny & Peignot), which are already established on the market, but cannot really assert itself outside of France.

The most important characteristics of the Antique Olive are its exceptionally large central length (height of the

lowercase letters without ascenders and descenders). In addition, there are the extremely pronounced differences in line width between arcs and strokes and a remarkable s that seems to stand on its head.

And it is precisely these characteristics that make the Antique Olive an unmistakable appearance in the otherwise uniform landscape of sans serifs.

At the same time, however, they also ensure that the Antique Olive has the edge over Helvetica & Co: Outside of France, it is not widely used in the Werksatz, the domain of small type sizes, despite being easy to read. ◊

Source: https://schriftgestaltung.com/schriftlexikon/schriftportrait/antique-olive.html

Significant differences between glyphs of Antique Olive Bold (White) and Antique Olive Nord

RE-DESIGNED GLYPHS FOR DIFFERENT STYLES. Antique Olive is available in several styles and weights including light, regular, medium and bold. As the original Antique Olive Nord was designed for usage in logos and headlines, glyphs of the complementing fonts were not only altered in weight, but redesigned, which among less obvious changes resulted in a double-storey 'a'.

Antique Olive Nord

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyzfifl 0123456789!"#$%&'()*+,-./:;<=>?@[\]^_{|}~

Antique Olive Bold

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyzfffiflffiffl 0123456789!"#$%&'()*+,-./:;<=>?@[\]^_{|}~

Antique Olive Medium

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyzfffiflffiffl 0123456789!"#$%&'()*+,-./:;<=>?@[\]^_{|}~

Antique Olive Regular

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyzfffiflffiffl 0123456789!"#$%&'()*+,-./:;<=>?@[\]^_{|}~

Antique Olive Regular Italic

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyzfffiflffiffl 0123456789!"#$%&'()*+,-./:;<=>?@[\]^_{|}~

Antique Olive Light

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyzfffiflffiffl 0123456789!"#$%&'()*+,-./:;<=>?@[\]^_{|}~ Alll fonts displayed at 12 pt / 14,4 pt

STRIKING CHARACTERISTICS. Antique Olive has a few striking characteristics that distinguish it from other sans-serif typefaces.

1

grĂźnes aus 2

6 Antique Olive Medium at 80 pt

1. X-height The cap-height and and the distance between baseline and descender are very low: Capitals and lowercase letters do not differ in height very much.

3. 's' standing on its head Due to the spine ending in a lower weight on the bottom-left end than in the top-right end, the 's' seems to stand on its head.

2. Arcs & strokes weight Arcs and strokes have significantly different weights.

4. Stem following dot shape The stem of the lowercase 'i' is rounded just as its dot above is.

3

5

4

Olivenöl Affi 7

8

5. Abscence of ascenders Antique Olive does not have any ascenders that are common for letters such as l, h or t.

6. Double-storey 'a' In contrast to the original Antique Olive Nord, all complementing styles have a double-storey 'a' which offers better readibility at smaller sizes.

7. Flat Apex & vortex The letters 'A' and 'V' have a flat apex/vortex.

8. Ligatures As common for many typefaces, Antique Olive offers ligatures for the combinations 'ff', 'fi', 'fl', 'ffi' and 'ffl', which — in contrast to most serif typefaces — seem rather unobstrusive.

ANTIQUE OLIVE David Horstmann, April 2020

D DI DOT a typeface designed by Adrian Frutiger

Didot Didot as we know it today was created by Adrian Frutiger in 1991 for Linotype. It is an interpretation of the French font family Didot, which was developed by the Parisian printer Firmin Didot. Firmin Didot was a member of the Didot family. From the mid 17th century for over two hundred years, the Didot family ran a series of very successful print shops and foundries in France. They even were the Kingâ&#x20AC;&#x2122;s printers. Firmin Didot developed the font family and cut and cast the letters in the late 18th and early 19th century. His brother Pierre then used the type to print various books, including the famous edition of Voltaireâ&#x20AC;&#x2122;s La Henriade in 1818. Since then, the typeface has been used for many publications as well as logo designs. The typeface was known for its stroke contrast and is considered to be a neoclassical font.

The

high contrast of the original Didot font family led to a few problems when trying to convert it into a digital font. The fine thin lines would disappear when the font was set at small point sizes. Adrian Frutiger, who was working at Linotype, solved this problem in 1991 by creating a heavier downstroke in the smaller sizes.

The font was released in 1992. There are slight differences in the family size between LT Didot and Adobe’s Didot. LT Didot comes in two weights including italics, a headline cut, oldstyle numerals, small caps for the Roman cut, initials, and open face, as well as two sets of ornaments. Adobe’s Didot, which is introduced in this booklet, doesn’t have all the styles, although it does have three weights. Famous uses of the font don't only include Voltaire’s La Henriade, but also Foundry Didot®, which was comissioned by the CBS (Columbia Broadcasting System) for their logo. The Didot variation named H&FJ Didot by Jonathan Hoefler was created for Harpers Bazaar.

Both LT Didot and H&FJ Didot are still widely used today, especially an elegant Sources: www.fonts.com look is desired.◊ www.fontsinuse.com

3

weigh 2 styles

Oldstyle Figures

hts Headline the quick brown fox jumps over the lazy dog Roman the quick brown fox jumps over the lazy dog Italic the quick brown fox jumps over the lazy dog Bold the quick brown fox jumps over the lazy dog Bold Italic the quick brown fox jumps over the lazy dog

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LIGATURES Æ挜 Æ挜 Æ挜 ÆÆ挌œ œÆ挜 fi ff ffi ff ffl fi fl ff ffi ffl fi fl ff ffi ffl fi fl ff ffi ffl

Didot Katharina Kohlmann April 2020

Ã&#x2020; Cooper Black Created by Oswald Bruce Cooper Adobe Originals

The history of Cooper Black

Designer(s) Foundry(ies) Release Year Country of Origin Classification Original Format

ℓ

Oswald Bruce Cooper Barnhart Brothers & Spindler 1922 United States Serif, Old Style Metal (Foundry)

Cooper Black is an ultra-bold serif typeface intended for display use that was designed by Oswald Bruce Cooper and released by the Barnhart Brothers & Spindler type foundry in 1922.The typeface was drawn as an extra-bold weight of Cooper’s “Cooper Old Style” family.

It rapidly became a standard typeface and was licensed by American Type

Its use in pop culture increased worldwide since 1966, when the Beach Boys used it for the cover artwork of their album Pet Sounds.

It was then featured in the Doors’ L.A. Woman (1971) and David Bowie’s Ziggy Stardust (1972), and in the opening credits of The Bob Newhart Show, Garfield and other shows.

As a result, Cooper Black has become emblematic of late-’60s/ early-’70s style.

Cooper Black followed on from Cooper’s career as a lettering artist in Chicago and the Midwest of America in the 1920s.Cooper Black was advertised as being “for far-sighted printers with nearsighted customers”, as well as “the Black Menace” by detractors.

While very bold, Cooper Black is based on traditional “old-style” serif lettering, rather than the hard-edged “fat face” fonts popular in the nineteenth century, giving it a soft, ‘muddy’ appearance, with relatively low contrast between thick and thin strokes.

Credits to Typedia.com http://typedia.com/explore/typeface/cooper-black/

Cooper Black comes in 1 weight & 2 styles (small + Caps)

Cooper Black - regular

â&#x2C6;&#x17E;

abcdefghijklmnopqrstuv wxyz

ABCDEFGHIJKLMNOPQRS TUVWXYZ

Cooper Std - black

abcdefghijklmnopqrstu vwxyz ABCDEFGHIJKLMNOPQ RSTUVWXYZ

Cooper Std - black italic abcdefghijklmnopqrstuv wxyz ABCDEFGHIJKLMNOPQR STUVWXYZ

e h T r e p Coo n a c s i k c a l B t e v i t a r o c de e n a c h c i wh e s e r p l a u s vi k r o w r you ed

y r e v a e b n , e c a f e typ e c n a h n e f o n o i t a t n e f i , t o l a y b . y l t c e r r o dc

Ă&#x2021; Cooper Black reviewed by Julian Beyerlein April 2020

Mr Eaves Sans a typeface by Zuzana Licko

&

Z

Zuzana Licko was born in Bratislava, Czechoslovakia, in 1961 and emigrated with her parents to the USA in 1968. She graduated from the University of California at Berkeley in 1984 with a degree in graphic communication.

Together with her husband, Rudy VanderLans, Licko founded the design company Emigre Graphics in 1984.

The company became world-famous for its self-published magazine and type foundry, which were strongly inspired by the new technical possibilities offered by the introduction of the Macintosh computer. Licko and VanderLans became early adopters of the new technology.

They experimented with the computer and created some of the very first type designs and digital page layouts that caused great consternation in the field of graphic design. Finally, the publication of the typefaces in Emigre magazine led to a demand for the typefaces, which led to the founding of the Emigre Type foundry. This growing library of digital typefaces, both experimental and traditional, is currently Emigreâ&#x20AC;&#x2DC;s main activity and mainstay.

M

r. Eaves is the sans-serif companion of Mrs. Eaves, one of Emigreâ&#x20AC;&#x2DC;s classic typefaces. This addition to the Emigre Type Library, created by Zuzana Licko, adds two complementary typeface families to the versatility of the original Mrs Eaves: Mr Eaves Sans and Mr Eaves Modern.

Mr Eaves was based on the proportions of Mrs Eaves. One of the main concerns was to avoid creating a typeface that looked as if the serifs were simply cut off. And though it matches Mrs Eaves in weight, color, and armature, Mr Eaves is a typeface in its own right, with many unique features.

The Sans version refers most directly to the original serif version, striking in the Roman lowercase letters a, e and g, and in subtle details such as the oblique introductory strokes, the counterforms of b, d, p and q, and the widened leg of the capital R, the tail of Q. Mrs Eavesâ&#x20AC;&#x2DC; extremely loose letter spacing was also transferred to the Sans version. Together with a generous built-in line spacing due to a small x-height and extended ascenders and descenders this results in the same kind of lightness.

Licko reduced the overall contrast as well as details such as the flag and tail of the f and j and the finale of the t, which were shortened to give a cleaner, sans-serif appearance. And the lower case c had to be rebalanced after losing its upper ball end.

Mr. Eaves Italic also takes many forms from his Mrs. Eaves model, especially the v, w and z, which are unusually extravagant for a design without italics. He also uses lead-in and end pieces that are reminiscent of serif italics. The biggest difference here is the width of the characters. The extra narrow gauge and filigree strokes seemed more suitable for serifs than for sans. For a comfortable fit, Mr. Eaves Italic has a more robust design and a wider character width.

Mr Eaves Sans comes in

3 WEIGHTS & 9 STYLES

l

thin

the quick brown fox jumps over the lazy dog

thin italic

the quick brown fox jumps over the lazy dog

light

the quick brown fox jumps over the lazy dog

light italic

the quick brown fox jumps over the lazy dog

book

the quick brown fox jumps over the lazy dog

book italic

the quick brown fox jumps over the lazy dog

regular

the quick brown fox jumps over the lazy dog

regular italic

the quick brown fox jumps over the lazy dog

bold

the quick brown fox jumps over the lazy dog

bold italic

the quick brown fox jumps over the lazy dog

heavy

the quick brown fox jumps over the lazy dog

heavy italic

the quick brown fox jumps over the lazy dog

Q

ÜÄÖ

“Type is a beautiful group of letters, not a group of beautiful letters.”

Ll

Ff

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz

123456789 Redish Purpel Friends, sun, sand, and sea, that sounds like a summer to me.

I have measured out my life with coffee spoons.

Mr Eaves Sans

by Julia Brech 2020

Adobe Caslon

by William Caslon I & Carol Twombly

Caslon refers to a number

of serif typefaces designed

by William Caslon I (1692-

1766), and various revivals thereof.

Caslon himself worked as an engraver

of punches, the masters used to stamp the moulds or matrices used to cast

metal type. He worked in the tradition

of what is now called old-style serif letter

design, that produced letters with a relatively

organic structure resembling handwriting with a

pen. Caslon established a tradition of engraving type in

London, which previously had not been common, and was influenced by

the imported Dutch Baroque typefaces that were popular in England at the time. Caslon’s earliest design dates to 1722. The earliest use of a roman and italic cut by Caslon can be identified in books printed William Bowyer in 1725, 1726 and 1730.

{

Adobe Caslon is a very popular revival designed

by Carol Twombly. It is based on Caslon’s own specimen pages printed between 1734 and

1770 and is a member of the Adobe Originals

programme. It added many features now standard in high-quality digital fonts, such as small caps,

old style figures, swash letters, ligatures, alternate letters, fractions, subscripts and superscripts, and matching ornaments.

Adobe Caslon is used for body text in The New

Yorker and is one of the two official typefaces of

the University of Virginia. A modification is used on U. VA’s logo. It is also available with Adobe’s Typekit programme, in some weights for free.

}

He did achieve a level of craft that enabled his recognition as

the first great English punchcutter. Caslon’s roman became so popular that it was known as the script of kings, although on the other side of the political spectrum (and the ocean), the

Americans used it for their Declaration of Independence in

1776. The original Caslon specimen sheets and punches have

long provided a fertile source for the range of types bearing his name.

After William Caslon I’s death, the use of his types diminished, but saw a revival between 1840-1880 as a part of the British Arts and Crafts movement.

Caslon’s types have achieved legendary status among

printers and typographers, and are considered safe, solid, and

dependable. A few of the many interpretations from the early twentieth century were true to the source, as well as strong

enough to last into the digital era. For many years a common rule of thumb of printers and typesetters was: When in doubt, use Caslon.

Caslon 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 stoke. Characters A, V, and W have an acute slant.

The lowercase italic p, q, v, w, and z all have a suggestion of a swash. (source: www.wikipedia.org/wiki/Caslon)

Cap line

Caslon Ascender

Beak

Arc

Ball Terminal

Median line

Baseline

Descender line

Spine

Serifes

Caslon Adobe

comes in 3 different weights and 2 styles

ABCDEFGHIJKLM

NOPQRSTUVWXYZ abcdefghijklmnopqr stuvwxyz123456789 0 !Ӥ $ % & / ( ) = ?

a a a aaa regular

italic

semibold

semibold italic

bold

bold italic

Regular 12pt

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1234567890!§%&/()=?

Italic 12pt

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1234567890!§%&/()=?

Semibold 12pt

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1234567890!§%&/()=?

Semibold Italic 12pt

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1234567890!§%&/()=?

Bold 12pt

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1234567890!§%&/()=?

Bold Italic 12pt

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1234567890!§%&/()=?

When in doubt, use Caslon. When in doubt, use Caslon.

When in doubt, use Caslon. When in doubt, use Caslon.

When in doubt, use Caslon. When in doubt, use Caslon.

When in doubt, use Caslon. When in doubt, use Caslon.

When in doubt, use Caslon. When in doubt, use Caslon.

When in doubt, use Caslon. When in doubt, use Caslon.

When in doubt, use Caslon. When in doubt, use Caslon.

When in doubt, use Caslon. When in doubt, use Caslon.

When in doubt, use Caslon. When in doubt, use Caslon.

When in doubt, use Caslon. When in doubt, use Caslon.

When in doubt, use Caslon. When in doubt, use Caslon.

When in doubt, use Caslon. When in doubt, use Caslon.

When in doubt, use Caslon. When in doubt, use Caslon.

When in doubt, use Caslon. When in doubt, use Caslon.

When in doubt, use Caslon. When in doubt, use Caslon.

When in doubt, use Caslon. When in doubt, use Caslon.

When in doubt, use Caslon. When in doubt, use Caslon.

When in doubt, use Caslon. When in doubt, use Caslon.

When in doubt, use Caslon. When in doubt, use Caslon.

When in doubt, use Caslon. When in doubt, use Caslon.

When in doubt, use Caslon. When in doubt, use Caslon.

When in doubt, use Caslon. When in doubt, use Caslon.

When in doubt, use Caslon. When in doubt, use Caslon.

When in doubt, use Caslon. When in doubt, use Caslon.

When in doubt, use Caslon. When in doubt, use Caslon.

When in doubt, use Caslon. When in doubt, use Caslon.

When in doubt, use Caslon. When in doubt, use Caslon.

When in doubt, use Caslon. When in doubt, use Caslon.

When in doubt, use Caslon. When in doubt, use Caslon.

When in doubt, use Caslon. When in doubt, use Caslon.

When in doubt, use Caslon. When in doubt, use Caslon.

When in doubt, use Caslon. When in doubt, use Caslon.

When in doubt, use Caslon. When in doubt, use Caslon.

When in doubt, use Caslon. When in doubt, use Caslon.

When in doubt, use Caslon. When in doubt, use Caslon.

When in doubt, use Caslon. When in doubt, use Caslon.

When in doubt, use Caslon. When in doubt, use Caslon.

When in doubt, use Caslon. When in doubt, use Caslon.

When in doubt, use Caslon. When in doubt, use Caslon.

When in doubt, use Caslon. When in doubt, use Caslon.

When in doubt, use Caslon. When in doubt, use Caslon.

When in doubt, use Caslon. When in doubt, use Caslon.

When in doubt, use Caslon. When in doubt, use Caslon.

All you need is love

Love is all you need.

ALL YOU NEED IS LOVE, l o v e

Shakespeare's p Globe Theatre

insufficient

& unĹżlattering

#100

Adobe Caslon Julia Lewey April 2020

Typefont by Christian

Roboto

Robertson

SLAB >> MONO >>

n

About Christian Robertson In 1986, when Robertson was in fifth grade, he designed his first typeface, â&#x20AC;&#x153;Christianâ&#x20AC;?. Christian Robertson works as an interface designer at Google and lives in San Francisco. Robertson runs his own type foundry, BetaType, which is located in California.

Christian Robertson

About Roboto Roboto is a typeface from the group of sans serif linear antiqua with a classicist or grotesque character. Roboto has a double nature. It has a mechanical skeleton and the forms are largely geometric. At the same time the typeface has friendly and open curves. The letters are set in their natural width. This creates a more natural reading rhythm, as is more likely to be found in serif typefaces. It is used as the standard font of the Android operating system from version 4.0 on and has become very popular. Roboto was first used in version 4.0. The font was designed in 2011 by Christian.

On January 12, 2012 the font was released. Since May 2013 it also serves as the house font for Google+, Google Play and Google Maps. In 2014 the Robot family was redesigned.

In addition to the regular family, there are the Roboto Condensed family, Roboto Slab family and Roboto Mono family. (source 1: http://christianrobertson.com/ source 2: https://fonts.google.com/ specimen/Roboto ; pic: http://luc.devroye.org/fonts-23924.html)

n

R O B OT O

Roboto

g

e

t

Arial

Roboto is sometimes compared Arial. Robtos forms have subtle curves and open counterforms, giving them more breathing room than the average neo-grotesque sans serif.

A general differentiation characteristic is the stroke ends of curves. In the Roboto typeface they are horizontal, whereas in the Arial typeface they are slanted.

The font is displayed at 12 pt/ 14 pt

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghIjklmnopqrstuvwxyz 1234567890‘?’“!”(%)[#]{@}/&\<-+÷×=>® ©$€£¥¢:;,.*

6 Weights 2 Styles

Self-driving robot ice cream truck.

Endless ice cream.

12 pt | thin, thin italic Self-driving robot ice cream truck.

Endless ice cream.

12 pt | light, light italic Self-driving robot ice cream truck.

Endless ice cream.

12 pt | regular, italic

Self-driving robot ice cream truck.

Endless ice cream.

12 pt | medium, medium italic Self-driving robot ice cream truck.

Endless ice cream.

12 pt | bold, bold italic Self-driving robot ice cream truck.

Endless ice cream.

12 pt | black, black italic

mechanic

u

star

k

nassuming

subtle

al

16 pt

le

flexib

ganized r o

12 pt pe

o

ly friend

fu t u r i

24 pt

s t ic

g

n

metgric o e

Roboto Slab

Roboto Slab is a free, open-source slab serif typeface designed by Christian Robertson. It was created to be used alongside the sans-serif version of Roboto.

Roboto Slab contains nine weights but doesnâ&#x20AC;&#x2122;t contain any italic styles so itâ&#x20AC;&#x2122;s not really an appropriate font for setting body copy.

Roboto Mono

Roboto Mono is a monospaced addition to the Roboto type family. The font is optimized for readability on screens across a wide variety of devices and reading environments.

With monospaced fonts, each letter of the font has exactly the same width. Monospaced fonts often have a large space requirement.

www.typewolf.com/ site-of-the-day/fonts/ roboto-slab

Roboto Slab

T

l

x

b

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghIjklmnopqrstuvwxyz

Roboto Mono

i

1

I l

Digit ‘1’, lowercase ‘l’ and capital ‘I’ are easily differentiated

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h I j k l m n o p q r s t u v w x y z

>>

S L A B

T

ROBO O

by Celia Wenzler, April 2020

>>

M O N O

µ

Benton a typeface story

MODERN DISPLAY

a Benton Modern addition by the hands of Dyana Weissman and Richard Lipton

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Benton Modern Display is a serif typeface created especially for the grandest applications and generous typography display, 30 points or above. It is a fresh and modern typeface, with constant and sharp shifts from thick to thin that are a memory of dip pens pressed and released, so popular in the era of its release. However, the transition in the contrast is more controlled than other common Modern typefaces, with whom this typeface shares a tight letter spacing, sleek details and serifs and more condensed letter shapes.

In the past, many display typefaces were cut only in capitals, because it was uncommon to need lowercase letters in headlines. On the contrary, Benton Modern Display comes with both uppercase and lowercase, italics and romans, it goes from delicate light to impacting ultra weight and has four different widths. It offers a wide range of possibilities, suitable for a flexible typography on screen, for a newspaper or a magazine.

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since 1997

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bentonmodern.webtype.com | typographica.org

THE BENTON SERIES A bright modern typeface for The Boston Globe Benton Modern Display is part of a series

Benton Modern Display is an extended

of typeface families that was started by

version of Benton Modern designed by

Tobias Frere-Jones in 1997. The typeface

Dyana Weissman and Richard Lipton in

was inspired in its forms and proportions

2008. They added the condensed, extra

by Century Expanded, which was created

condensed and compressed styles in four

as a newspaper type for the American

weights with italics, while the normal width

Type Founders by Morris Fuller Benton

comes with up to six weights. This large-

in the early 1900s. Over the years, the

scale refinement and size-specific design

initial typeface was expanded. The Italic

makes Benton Modern Display perfectly

was based on the Century Schoolbook Italic,

suitable for expressive headlines.

which was added later, with the Bold, by

Whether you choose the full range offered

Richard Lipton and Christian Schwarz.

The designers David Berlow and Dyana

by the Benton Modern series or simply one family, with its modern proportions and a

Weissman also contributed to the additions.

slight remembrance of the past, Benton Modern is always a good choice. ‡

Nowadays the Benton Modern series from Font Bureau consists of three families: Benton Modern RE, for small applications on screen; Benton Modern, for medium-size texts; Benton Modern Display , suitable for larger applications. Additionally, there is a sans serif series, Benton Sans, also started

by Tobias Frere-Jones on the basis of News Gothic, a typeface again designed by Morris Fuller Benton and updated through Font Bureau until 2013.

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36

STYLES

6

light, regular, semibold, bold, black, ultra

weights

4

normal, condensed, extra condensed, compressed

widths

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Sphinx of black quartz, judge my vow.

LIGHT ITALIC

Sphinx of black quartz, judge my vow.

REGULAR ITALIC

Sphinx of black quartz, judge my vow.

BOLD ITALIC COMPRESSED

Sphinx of black quartz, judge my vow.

BLACK ITALIC

Sphinx of black quartz, judge my vow.

ULTRA ITALIC

Sphinx of black quartz, judge my vow.

LIGHT

Sphinx of black quartz, judge my vow.

REGULAR

Sphinx of black quartz, judge my vow.

SEMIBOLD CONDENSED

Sphinx of black quartz, judge my vow.

SEMIBOLD EXTRA CONDENSED

Sphinx of black quartz, judge my vow.

BOLD COMPRESSED

Sphinx of black quartz, judge my vow.

BLACK

Sphinx of black quartz, judge my vow.

ULTRA

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Benton Modern Display comes with 6 beautiful ligatures concerning the letter “f„ in both italic and roman. The OpenType feature enables a brilliant alternate “R„ to tailor your design.

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cool summer breeze over the juicy lemons

flessuoso flamenco

SORRISO †

daffodils in cobblestones

†

Quabbel & Süßigkeiten

Platform Nº 93/4 • Tickets 8 $ | 5 € | 2 £ only! • µ

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Benton MODERN DISPLAY

designed by Jessica Friedrich | April 2020

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Adobe Garamond

Type Designer Robert Slimbach Original Typeface by Claude Garamond

I am...

...elegant

...timeless

...classic

T

he Garamond typeface was developed by type founder, typographer, stamp cutter and publisher Claude Garamond between the years 1530 and 1531.

Claude Garamond was born in Paris in 1499 or 1490.

The alternative spelling of his name is Claude Garamont.

Garamond was taught the craft of type cutting by Geoffroy Tory, and was a student and associate of the Parisian stamp cutter and printer Antoine Augereau. His typefaces were based on the types of Francesco Griffo and the alphabets of Ludovico Vincentino degli Arrighi. Compared with earlier Italian letterforms, Garamond’s fonts has finer serifs. The font was first used in the production of books by Robert Estienne.

The serif face was later created by Robert Slimbach and released by Adobe in 1989. In 1989 the Adobe Garamond design was released, much to the delight of many in the design industry who saw the font as a very graceful interpretation of Garamond’s original face.

It came with small caps, titling caps, swash caps and expert fonts.

The font is considered an Old Style Garalde font because of the oblique nature of the slimmest areas found in the letter shapes.

The Adobe Garamond design is considered one of the most versatile fonts available today and certainly one of the most attractive and graceful in print. It is also one of the most eco friendly types to print because the letterforms use less ink than other similar faces.

The font is widley used today, for example in all the Harry Potter books. (source: https://www.fonts.com/font/adobe/adobe-garamond/story, picture: https://mediengeschichte.dnb.de/DBSMZBN/Content/DE/SchriftGestalten/05-garamond-claude.html)

Weight & Styles bold

regular

italic bold italic

regular the quick brown fox jumps over the lazy dog the quick brown fox jumps over the lazy dog

italic the quick brown fox jumps over the lazy dog the quick brown fox jumps over the lazy dog

bold the quick brown fox jumps over the lazy dog the quick brown fox jumps over the lazy dog

bold italic the quick brown fox jumps over the lazy dog the quick brown fox jumps over the lazy dog

Adobe

Garamond

â&#x2030;

Garamond

Ligatures fi fl ff ffi ffl fj ffj st œ ct fi h h h �  Œ Æ

Adobe Garamond Grace Tobias April 2020

â&#x20AC; DEMOCRATICA a typeface by Miles Newlyn

Democratica was designed by an ex-Central Saint Martin’s Student, Miles Newlyn, in 1991, for Emigre, right after he graduated. He was tired of the modular typfaces designed using the cut-copypaste method on a Mac, which was the prevailing trend of that time. He felt that typefaces designed

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in that period of time were losing the structural beauty of Roman Oldstyle typefaces. Because Democratica is very recognizable, it is used mostly to be seen, in places such as album covers, as book titles, magazine covers, etc. When it was released, this typefaces was popular, even used on Paul McCartney’s album cover.

This typefaces is influenced very much by Jonathan Barnbrook’s Emigre typeface, Mason. Barnbrook was a major influence on Newlyn’s work, and this encouraged Newlyn’s exploration into gothic and blackletter typeforms.

With the link to the former USSR in mind, Newlyn designed this Roman Oldstyle typeface to reflect the style and shapes of Russian letterforms. † https://workflow.arts.ac.uk/view/view.php?id=13052

â&#x20AC;&#x153;Democratica is a synthesis of the connections I saw between the crude struggle for democracy in the former USSR and the crudeness of the many recent modular typeface designs. I tried to conceive the individual letters as people who wanted the same so called freedom of others but which was in actual fact just another set of rules.â&#x20AC;?

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democratica has 1 style with 2 weights

Pa

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Q

roman

the quick brown fox jumps over the lazy dog

bold

the quick brown fox jumps over the lazy dog

ROMAN (ALL CAPS)

THE QUICK BROWN FOX JUMPS OVER THE LAZY DOG

BOLD (ALL CAPS)

THE QUICK BROWN FOX JUMPS OVER THE LAZY DOG

The x-height of this type is the limitation of most capitalized letters. Can you see the difference between left and right?

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ð

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THE X-HEIGHT OF THIS TYPE IS THE LIMITATION OF MOST CAPITALIZED LETTERS. CAN YOU SEE THE DIFFERENCE BETWEEN LEFT AND RIGHT?

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â&#x20AC; DEMOCRATICA April 2020 Tobias Hartfiel

first modern font

Bodoni a typeface by Giambattista Bodoni

Giambattista Bodoni, born in 1740, was one of the most important figures in Italian typography.

Bodoni, the designer of the font of the same name, was a printer, typographer and head of the ducal print shop in Parma.

In 1795 he created a very special typeface: the Bodoni. The Bodoni can undoubtedly be called the first modern typeface because it is elegant, strict and clear. Characteristic are the strong contrast between base and hair lines and the serifs attached at right angles to the base lines, no longer curved like those of the Renaissance.

The Bodoni belongs to the so-called classical Antiqua, with serifs, i.e. fine smears on the letter ends. They are horizontal and do not look handwritten, but constructed. (https://oe1.orf.at/artikel/308663/Typo-Stories-Eine-Schriftart-und-ihre-Geschichte picture: https://schriftgestaltung.com/schriftlexikon/schriftportrait/bodoni.html)

Good to know: The large W is also particularly striking. The left and middle serifs are connected to each other. You almost get the impression that there is a fine line on the big W.

W

(https://oe1.orf.at/artikel/308663/Typo-Stories-Eine-Schriftart-und-ihre-Geschichte)



abcdef ghijkl mnopqrstuvw xyz 1 2 3 4 5 6 7 8 9 0

ABCDEFGHI JKLMNO PQRSTUVWX YZ 

Bodoni Condensed The quick brown fox jumps over the lazy dog.

Bodoni Regular The quick brown fox jumps over the lazy dog

Bodoni Italic The quick brown fox jumps over the lazy dog

Bodoni Bold The quick brown fox jumps over the lazy dog

Bodoni Condensed Bold

The quick brown fox jumps over the lazy dog Bodoni Black The quick brown fox jumps over the lazy dog

W  wonderfully modern classic-classicist decorating  dominate, cool  elegance strictly symmetrical monumental  W

Giambattista Bodoni

â&#x20AC;&#x153;

The letters are graceful when they are not written with reluctance and haste, not with effort or diligence, but with pleasure and love.

â&#x20AC;?

Bodoni

by Karolina Macan April 2020

ROBOTO SLAB a typeface by Christian Robertson

R

Robot typeface has been designed entirely in-house at Google by Christian Robertson, an interface designer for Google.

Google wanted a font suitable for use with Android devices, and Roboto was born. A font intended for digital usage, by its nature, will have a much different look, stroke weights and adaptations than a font created for use with a printing press, or adapted from a font used with a printing press.

Google itself describes the font as â&#x20AC;&#x153;modern, yet approachable,â&#x20AC;? and says it is somewhat emotional. It is a rounded, clean typeface with a straightforward, geometric design that offers clean lines. The font includes the ability to present it in thin, light, regular, medium, bold and black weights. Some of the styles are condensed to keep the font readable even at the lightest and heaviest weights. Since the font is approachable, it has a friendly appeal, but at the same time it is not exactly casual. If the font were a clothing item, it would fall somewhere between dress slacks and a dress suit.

Roboto typeface has 4 families with multiple weights:

the base Roboto family the slab serif version called simply Roboto Slab the condensed version Roboto Condensed the monospace version Roboto Mono

The typoface’s reception wasn’t always positive back then. Typography commentator Stephen Coles called the initial release of Roboto as a “Frankenfont” because the similarity of some characters in Helvetica, Univers, Myriad, DIN and Ronnia. But since then the font went through a few updates and improvements which corrected many of the problems with the initial release.

Roboto is a good fit for any type of tech company or cutting-edge technology. Think media players or other online video and music services. It is not as easy to read as fonts such as Helvetica due to some of the curving of the letters. You may want to limit use to larger text, such as in headings, and stick with a simpler font for blocks of text As with other fonts, you are certainly free to use Roboto anywhere you’d like. However, keep in mind that some people hate the mishmash nature of this font. They call it a “Frankenfont” and pointing out other reasons they dislike it.

Even if you don’t agree with that analysis, it might turn off site visitors to use the font too frequently. ◊ ◊ (sources: www.designroast.org / www.blog.prototypr.io/what-should-designersknow-about-the-roboto-typeface)

R

Roboto slap comes in 6 weights and 3 styles.

Black

Pack my box with five dozen liquor jugs.

Extra Bold

Pack my box with five dozen liquor jugs.

Bold

Pack my box with five dozen liquor jugs.

Semi Bold

Pack my box with five dozen liquor jugs.

Medium

Pack my box with five dozen liquor jugs.

Regular

Pack my box with five dozen liquor jugs.

Light

Pack my box with five dozen liquor jugs.

Extra Light

Pack my box with five dozen liquor jugs.

Thin

Pack my box with five dozen liquor jugs.

â&#x201E;&#x2013; ROBOTO SLAB

by Mathilde Gallinelli - avril 2020

Montserrat a typeface by Julieta Ulanovsky

Montserrat is a geometric sans-serif typeface with some small adjustments. It has an elegant and modern look, which results in a clean but still stylish appearance.

Furthermore its x-height is beautifully chosen to show the differences between ascenders and descenders.

The Montserrat typeface was designed and created

by Julieta Ulanovsky. She lives in Buenos Aires, the capital of the South American country Argentina.

She, being a designer and typography fan, was inspired by all the old posters and signage she saw in her historical neighborhood “Montserrat”. This led her to create her own typeface containing all the beautiful type she found in her district. Her goal with the Montserrat typeface is to rescue this modern urban typography, aside from the future development of her hometown.

Furthermore she wants to keep Montserrat a free font under a special license: the SIL Open Font License. This ensures it remains libre and open source, so everyone can use it in almost every situation. The whole project of creating the typeface Montserrat was funded by generous individuals on the platform “Kickstarter”. She raised almost 10.000 $ from over 360 supporters and released Montserrat within a month later in the year 2011. Two different families came out: “Montserrat Regular” and “Montserrat Regular Alternate Caps” both with all required Glyphs for Basic Latin.

In conclusion the versatile Montserrat will remain a free-to-use font and is downloadable for everyone on Google Fonts.

(source: www.kickstarter.com)

Montserrat offers

9 weights 9 styles

Thin Italic Learning Typography and InDesign ExtraLight Learning Typography and InDesign Light Italic Learning Typography and InDesign Regular Learning Typography and InDesign Medium Italic Learning Typography and InDesign SemiBold Learning Typograpgy and InDesign Bold Italic Learning Typography and InDesign Extra Bold Learning typography and InDesign Black Italic Learning Typography and InDesign

Ligatures Weights & Styles Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ

ӕ ӕ ӕ ӕ ӕ ӕ ӕ ӕ ӕ ӕ ӕ ӕ ӕ ӕ ӕ ӕ ӕ ӕ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Th Th Th Th Th Th Th Th Th Th Th Th Th Th Th Th Th Th

QUEEN #№₁ ⁶⁰⁰ ₧ ▶ 1$ YaWN 1¼ 2½ 3¾ 4⅛ BMW Z4 ǤȖȊḏẩŇċē ₽℮₮€₹ ₡¤₫₴™ ◇ ⟨ḺÙҡe@гṎṦ.ďE⟩

Montserrat

By Lukas Poguntke April 2020

A TYPEFACE DESIGNED BY Łukasz Dziedzic

◊∆»»∆◊

Hi, I’m Lato !

About Lato

stylistic direction, making the family available for public release.While working on Lato, Łukasz tried to carefully balance some potentially conflicting priorities.

He wanted to create a typeface that would appear quite “transparent” in the body of the text, but with some original features in larger formats. He used classic proportions (especially visible in uppercase) to give the letterforms familiar harmony and elegance. At the same time, he created an elegant sans serif look, which highlights the fact that Lato was designed in 2010 - even though it does not follow any current trend.

The semicircular details of the letters give Lato a feeling of warmth, while the strong structure provides stability and seriousness.

“Man and woman, serious but friendly. With the feeling of summer “, says Łukasz.•

Lato is a sans serif typeface family founded in summer 2010 by the Warsaw-based designer Łukasz Dziedzic (“Lato” means “summer” in Polish). In December 2010, the Lato family was released under the Open Font license by his foundry tyPoland with the support of Google.

In the last ten years that Łukasz has been designing type, most of his projects were rooted in a particular design task he needed to solve. It was no different with Source: https://culture.pl/en/article/ Lato. Originally, the family what-makes-a-font-popular & was conceived as a set of http://www.latofonts.com/ corporate typefaces for a large client who eventually decided to move in a different

About Łukasz Dziedzic Łukasz Dziedzic was born in Warsaw in 1967. Instead of finishing high school, he worked as a sound engineer and occasionally as an actor in a children’s theatre group, worked for a year as a carpenter’s helper in the reconstruction of 13th century churches, lent his voice and bass guitar skills to the band “Duński Jazz” and worked as a software developer at the Polish Patent Office.

In 2010, Dziedzic designed Lato, a sans serif family with five weights and the corresponding italics (“Lato” means “summer” in Polish).

Lato was released under

Picture of Łukasz Dziedzic (twitter @lukdziedzic)

the open source open font license and was greatly expanded in 2014 with nine weights and over 3000 glyphs per font (expanded Latin, Cyrillic, Greek, IPA phonetics and many more characters). Lato is one of the world’s most popular open source font families.• Source: https://www.myfonts. com/person/Lukasz_Dziedzic/ & https://www.myfonts.com/ person/Lukasz_Dziedzic/

∞

LATO - HAIRLINE Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1234567890 !“§$%&/()=?23@<>[]œ◊¶µ¾≈

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LATO - HAIRLINE ITALIC

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Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1234567890 !“§$%&/()=?23@<>[]œ◊¶µ¾≈ LATO - LIGHT

∏

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1234567890 !“§$%&/()=?23@<>[]œ◊¶µ¾≈ LATO - LIGHT ITALIC

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Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1234567890 !“§$%&/()=?23@<>[]œ◊¶µ¾≈ LATO - REGLUAR

≠

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1234567890 !“§$%&/()=?23@<>[]œ◊¶µ¾≈

…

all fonts displayed at 12 pt / 14,4 pt

∂

LATO - ITALIC Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1234567890 !“§$%&/()=?23@<>[]œ◊¶µ¾≈

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LATO - BOLD Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1234567890 !“§$%&/()=?23@<>[]œ◊¶µ¾≈

∫

LATO - BOLD ITALIC Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1234567890 !“§$%&/()=?23@<>[]œ◊¶µ¾≈ LATO - BLACK Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1234567890 !“§$%&/()=?23@<>[]œ◊¶µ¾≈

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LATO - BLACK ITALIC Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1234567890 !“§$%&/()=?23@<>[]œ◊¶µ¾≈

‡

all fonts displayed at 12 pt / 14,4 pt

≈

Schifffahrt Baustofffirma

Süßigkeiten

Äpfel fliegen

Kœnig

◊∆»»∆◊

TYPE STUDY CREATED BY Sarah Weißbeck April 2020

Bye, Bye Lato !

IIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIII IIIIIDAVIDIII IIIIIIIIIIIIIIIII IIBERLOWII IIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIII IIMODERNO IIIIIIIIIIIIIIIII IIIIIIIIIIFBIII IIIIIIIIIIIIIIIII

Moderno FB A Typeface created by David Berlow 1995

M

M

In 1995, David Berlow cut FB Moderno for Esquire Gentleman and Reforma from a TrueType pole of Giza. Berlow conceived FB Moderno using Apple’s (later abandoned) GX technology to interpolate between two 19th century serif styles, a “slab” and a “modern”.

The Montreal Gazette expanded the family under Louise Vincent. Cases i Associats added even more weights for La tampa in Turin. Among other uses, Moderno FB is recommended for Newspaper and Magazine use. (http://typedia.com/explore/typeface/moderno-fb/)

ABCDEFG HIJKLMNO PQRSTUVW XYZabcdef ghijklmno pqrstuvwx yz1234567 890?!$%&/ 4 Typeface Styles 4 Typeface Weights

regular — The quick brown fox jumps over the lazy dog

regular italic — The quick brown fox jumps over the lazy dog

semibold — The quick brown fox jumps over the lazy dog

semibold italic — The quick brown fox jumps over the lazy dog

bold — The quick brown fox jumps over the lazy dog

bold italic — The quick brown fox jumps over the lazy dog

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BE FEARLES IN THE PURSUIT OF WHAT SETS YOUR SOUL ON FIRE.

Moderndo FB

By Kathrin Schneider April 2020

IIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIII

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a Typeface by Frank Hinman Pierpont

WANTED DEAD OR ALIVE

HISTORY

1910 The Type Litho Antique got new characters and was published by Morris Fuller Benton under the name Rockwell Antique.

The original typeface was called Litho Antique and released by William Schraubstadter.

1931 After a second change

by Benton to the new

1934

Font Styme Bold, Frank Hinmann Pierpont created and released together with Monotype the new typeface family Rockwell.

The Fonts Styme Bold and Rockwell are very similare to each other so it is very hard to tell them apart. â&#x2014;&#x160;

https://www.fonts.com/de/font/monotype/rockwell/story

WANTED DEAD OR ALIVE

USAGE

Class: Egyptienne Classification: Slab serif font, linear- antiqua Variations: nine Weights: italics, regular, bold and condensed

Products: • Western Movie paraphernalia • Old posters • Guinness Book of Records • Docklands Light Railway

Using: • Perfect for headlines • Other applications

Rockwell -nine different variations, with regular, italics, bold and condensed-

Rockwell ~ Regular The quick brown fox jumps over the lazy dog

Rockwell Condensed ~ Regular The quick brown fox jumps over the lazy dog

Rockwell ~ Italic The quick brown fox jumps over the lazy dog

Rockwell Condensed ~ Bold The quick brown fox jumps over the lazy dog

Rockwell ~ Bold The quick brown fox jumps over the lazy dog Rockwell ~ Bold Italic The quick brown fox jumps over the lazy dog

Rockwell Nova ~ Regular The quick brown fox jumps over the lazy dog Rockwell Nova ~ Condensed Light The quick brown fox jumps over the lazy dog Rockwell Nova ~ Condensed Light Italic The quick brown fox jumps over the lazy dog Rockwell Nova ~ Condensed The quick brown fox jumps over the lazy dog

Rockwell Nova ~ Condensed Italic The quick brown fox jumps over the lazy dog Rockwell Nova ~ Condensed Bold The quick brown fox jumps over the lazy dog Rockwell Nova ~ Italic The quick brown fox jumps over the lazy dog

Rockwell Nova ~ Bold Italic The quick brown fox jumps over the lazy dog Rockwell Nova ~ Extra Bold The quick brown fox jumps over The lazy dog

Rockwell Extra Bold ~ Bold The quick brown fox jumps over the lazy dog

Rockwell Nova ~ Condensed Italic The quick brown fox jumps over the lazy dog Rockwell Nova ~ Condensed Bold The quick brown fox jumps over the lazy dog Rockwell Nova ~ Italic The quick brown fox jumps over the lazy dog Rockwell Nova ~ Light Italic The quick brown fox jumps over the lazy dog

Rockwell Nova ~ Light Italic The quick brown fox jumps over the lazy dog Rockwell Nova ~ Italic The quick brown fox jumps over the lazy dog Rockwell Nova ~ Bold The quick brown fox jumps over the lazy dog

Rockwell Nova ~ Extra Bold Italic The quick brown fox jumps over the lazy dog

Ligatures

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Glyph Set

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Stephanie Brand April, 2020

PT Serif

â&#x201E;&#x2013; a typeface by Alexandra Korolkova, Olga Umpeleva and Vladimir Yefimov

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PT Serif™* is the second pan-Cyrillic font family developed for the project “Public Types of the Russian

Federation.” The first family of the project, PT Sans, was released in 2009. *(18pt/24pt)

The fonts are released with a libre license and can be freely redistributed: The main aim of the project is to give possibility to the people of Russia to read and write in their native languages.

The project is dedicated to the 300 year anniversary of the civil type invented by Peter the Great in 1708–1710. It was given financial support from the Russian Federal Agency for Press and Mass Communications.

&

The fonts include standard Western, Central European and

Cyrillic code pages, plus the characters of every title language in the Russian Federation. This makes them a unique and very important tool for modern digital communications.

PT Serif is a transitional serif typeface with humanistic

terminals. It is designed for use together with PT Sans, and is harmonized across metrics, proportions, weights and design.

The family consists of six styles: regular and bold weights with corresponding italics form a standard font family for basic text setting; two caption styles in regular and italic are for use in small point sizes. (11pt/17pt)

source: https://fonts.google.com/specimen/PT+Serif

About weight and style: •2 •2

STYLES

WEIGHTS ( Plus small caps)

regular Almost before we knew it, we had left the ground. bold Almost before we knew it, we had left the ground. italic Almost before we knew it, we had left the ground. italic bold Almost before we knew it, we had left the ground.

Set in

a

12 pt / 18 pt

„I can´t find more the two ligatures!” „The letters are yellow like sunflowers.”

There are some Superscript and Subscript numbers 1¹ 2² 3³ 1₁ 2₂ 3₃ 4₄

& some other different symbols

b

$^`¢£¤¥¦¨©®¯°´¸˘˙˚˛˜˝€₴₶№™℮◊

123456

No : 123456789000000000000

abcdef 0123456789

0,89 £

9 780201 379624

Taste № 5

Zutaten: Wasser, Zucker, Orangensaft aus Orangensaftkonzentrat, Kohlensäure, Säurungsmittel Zitronensäure, Zitrussextrakt, natürliches Orangenaoma, Farbstoff Carotin, Stabilisatoren E 412, E 414 und E 445 (8pt/12pt)

Fanta Blue

PAC K VE C TO R

VARIOUS BARCODES

Erfrischungsgetränk mit Orangengeschmack (9pt/11pt)

VARIOUS BARCODES

c ℮ 0,33l

VEC TO R

9 780201 379624

PAC K

abcdef 0123456789

No : 123456789000000000000

123456

PT Serif

by Samuel Teufel 15th April 2020