Page 1

A Midsummer

Night ’s Typeface


A Midsummer

Night ’s Typeface


A Midsummer

Night ’s Typeface Dan Mongan

umsl Saint Louis, Missouri


Copyright Š2013 All rights reserved. No part of this publication may be reproduced by any mechanical, photographic, or electronic process, or in the form of a photographic recording, nor may it be stored in a retrieval system, transmitted, or otherwise copied for public or private use without the written permission of the publisher. First printing Published in the United States by umsl fab One University Boulevard Saint Louis, Missouri 63121 Published in the USA


For my family


table of contents Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . XI Chapter One itc Avant Garde . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Chapter Two itc Tiffany Std . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Chapter Three Adobe Caslon Pro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Chapter Four Bickham Script Std . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Colophon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41


introduction This type specimen gives detailed information on four typefaces. Each typeface has a chapter of its own and shows the deconstruction of that typeface. There is also variety of weights and sizes, and information on the designer of the typeface. The theme of this book is A Midsummer Night’s Dream. The inspiration came from the fantasy aspect of the book and the typefaces chosen show an elegant and formal quality. This book is to help determine when one should each typeface for display text or body text.

XI


Herb Lubalin's logogram for Avant Garde Magazine.


chapter one Herb Lubalin and  Tom Carnase based their 1970 design of itc Avant Garde Gothic on Lubalin’s logo for Avant Garde Magazine. The condensed fonts were designed for the International Typeface Corporation in 1974 by Ed Benguiat. itc Avant Garde Gothic is a geometric sans serif type, that is, the basic shapes were made with a compass and T-square; the design is reminiscent of the work from the 1920s German Bauhaus movement. Letterforms built of circles and clean lines are highly effective for headlines and short texts. The condensed faces have the same modern look, while retaining legibility in lengthier texts.


extra light

2

A Midsummer Night’s Typeface

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 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ Œ œ æ fi fl © ® ™ < ! @ # / + \ $ % ^{ } *|; ( = ) [ ~ ] > ? '  , & . ` " 

book

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 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ Œ œ æ fi fl © ® ™ < ! @ # / + \ $ % ^{ } *|; ( = ) [ ~ ] > ? '  , & . ` " 

medium

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 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ Œ œ æ fi fl © ® ™ < ! @ # / + \ $ % ^{ } *|; ( = ) [ ~ ] > ? '  , & . ` " 

demi

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 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ Œ œ æ fi fl © ® ™ < ! @ # / + \ $ % ^{ } *|; ( = ) [ ~ ] > ? '  , & . ` " 

bold

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 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ Œ œ æ fi fl © ® ™ < ! @ # / + \ $ % ^{ } *|; ( = ) [ ~ ] > ? '  , & . ` " 


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 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ Œ œ æ fi fl © ® ™ < ! @ # / + \ $ % ^{ } *|; ( = ) [ ~ ] > ? '  , & . ` "  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 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ Œ œ æ fi fl © ® ™ < ! @ # / + \ $ % ^{ } *|; ( = ) [ ~ ] > ? '  , & . ` "  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 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ Œ œ æ fi fl © ® ™ < ! @ # / + \ $ % ^{ } *|; ( = ) [ ~ ] > ? '  , & . ` " 

extra light condensed

book condensed

medium condensed

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 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ Œ œ æ fi fl © ® ™ < ! @ # / + \ $ % ^{ } *|; ( = ) [ ~ ] > ? '  , & . ` " 

demi condensed

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 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ Œ œ æ fi fl © ® ™ < ! @ # / + \ $ % ^{ } *|; ( = ) [ ~ ] > ? '  , & . ` " 

bold condensed

itc Avant

Garde Gothic

3


4

extra light oblique

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 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ Œ œ æ fi fl © ® ™ < ! @ # / + \ $ % ^{ } *|; ( = ) [ ~ ] > ? '  , & . ` " 

book oblique

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 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ Œ œ æ fi fl © ® ™ < ! @ # / + \ $ % ^{ } *|; ( = ) [ ~ ] > ? '  , & . ` " 

A Midsummer Night’s Typeface

medium oblique

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 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ Œ œ æ fi fl © ® ™ < ! @ # / + \ $ % ^{ } *|; ( = ) [ ~ ] > ? '  , & . ` " 

demi oblique

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 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ Œ œ æ fi fl © ® ™ < ! @ # / + \ $ % ^{ } *|; ( = ) [ ~ ] > ? '  , & . ` " 

bold oblique

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 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ Œ œ æ fi fl © ® ™ < ! @ # / + \ $ % ^{ } *|; ( = ) [ ~ ] > ? '  , & . ` " 


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 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ Œ œ æ fi fl © ® ™ < ! @ # / + \ $ % ^{ } *|; ( = ) [ ~ ] > ? '  , & . ` "  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 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ Œ œ æ fi fl © ® ™ < ! @ # / + \ $ % ^{ } *|; ( = ) [ ~ ] > ? '  , & . ` "  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 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ Œ œ æ fi fl © ® ™ < ! @ # / + \ $ % ^{ } *|; ( = ) [ ~ ] > ? '  , & . ` " 

extra light condensed oblique

book condensed oblique

medium condensed oblique

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 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ Œ œ æ fi fl © ® ™ < ! @ # / + \ $ % ^{ } *|; ( = ) [ ~ ] > ? '  , & . ` " 

demi condensed oblique

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 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ Œ œ æ fi fl © ® ™ < ! @ # / + \ $ % ^{ } *|; ( = ) [ ~ ] > ? '  , & . ` " 

bold condensed oblique

itc Avant

Garde Gothic

5


extra light

The course of true love never did run smooth.

book

The course of true love never did run smooth.

8/10

9/11

medium 10/12

demi

11/13

book oblique 12/14

demi oblique 14/16

bold oblique 18/20

6

A Midsummer Nightâ&#x20AC;&#x2122;s Typeface

The course of true love never did run smooth.

The course of true love never did run smooth.

The course of true love never did run smooth.

The course of true love never did run smooth.

The course of true love never did run smooth.


G} Q}

low crossbar

o}

curve on tail

perfect circles

R} x} ji }

bowl does not close

tall x-â&#x20AC;&#x2030;height

rectangular dots

itc Avant

Garde Gothic

7


— Herb Lubalin


chapter two Born Ephram Edward Benguiat in 1927, he grew up in Brooklyn, New York, playing with his father's drawing materials. Before the Second World War, he had a promising career as a jazz percussionist, and he picked this up again after serving with the Air Corp â&#x20AC;&#x201D; which he joined with the aid of a forged birth certificate â&#x20AC;&#x201D; during the war. However, acknowledging that a music career could see him still playing at bar mitzvahs as an old man, he used the GI bill to go to college. He enrolled at the Workshop School of Advertising Art, training as an illustrator. itc Tiffany is a blend of two typefaces; Ronaldson, released in 1884 by the MacKellar Smiths & Jordan foundry, and Caxton, released in 1904 by American Type Founders. Ronaldson was an instant success and widely copied by many foundries after its release; its exaggerated serifs are its most remarkable feature. In 1974, Ed Benguiat combined these designs in a contemporary typeface he called Tiffany, which is useful for both short texts and display work.


medium

12

A Midsummer Night’s Typeface

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 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 0 1 2 3 4 5 6 7 8 9 ¼ ½  ¾Œ œ æ fi fl © ® ™ < ! @ # / + \ $ % ^{ } *|;  ( = ) [ ~ ] > ? '  , & . ` " 

demi

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 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 0 1 2 3 4 5 6 7 8 9 ¼ ½  ¾Œ œ æ fi fl © ® ™ < ! @ # / + \ $ % ^{ } *|;  ( = ) [ ~ ] > ? '  , & . ` " 

heavy

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 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 0 1 2 3 4 5 6 7 8 9 ¼ ½  ¾Œ œ æ fi fl © ® ™  < ! @ # / + \ $ % ^{ } *|;  ( = ) [ ~ ] > ? '  , & . ` " 


I do not think “ of type as something that should be readable.

It should be

beautiful.” —  Edward Benguist


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 a b c d e f g h i j k l mn o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾Œ œ æ fi fl © ® ™ < ! @ # / + \ $ % ^{ } *|; ( = ) [ ~ ] > ? '  , & . ` " 

medium italic

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 a b c d e f g h i j k l mn o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾Œ œ æ fi fl © ® ™ < ! @ # / + \ $ % ^{ } *|; ( = ) [ ~ ] > ? '  , & . ` " 

demi italic

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

heavy italic

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 mn o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾Œ œ æ fi fl © ® ™ < ! @ # / + \ $ % ^{ } *|; ( = ) [ ~ ] > ? '  , & . ` " 

itc Tiffany

Std

15


medium 8/10

demi

Lord, what fools these mortals be!

heavy

Lord, what fools these mortals be!

9/11

10/12

italic

11/13

demi italic 12/14

heavy italic 14/16

demi 18/20

16

A Midsummer Nightâ&#x20AC;&#x2122;s Typeface

Lord, what fools these mortals be!

Lord, what fools these mortals be!

Lord, what fools these mortals be!

Lord, what fools these mortals

Lord, what fools these mortals be!


Q} o}

elegant tail

vertical axis

R} e}

stem curves in the counter

slanted eye

itc Tiffany

Std

17


x


chapter three William Caslon released his first typefaces in 1722. Caslon’s types were based on seventeenth-century Dutch old style designs, which were then used extensively in England. Because of their remarkable practicality, Caslon’s designs met with instant success. Caslon’s types became popular throughout Europe and the American colonies; printer Benjamin Franklin hardly used any other typeface. The first printings of the American Declaration of Independence and the Constitution were set in Caslon. For her Caslon revival, designer Carol Twombly studied specimen pages printed by William Caslon between 1734 and 1770. The OpenType “Pro” version merges formerly separate fonts and adds both central European language support and several additional ligatures. Adobe Caslon Pro is the perfect choice for body text in magazines, journals and book publishing.


regular

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 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 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾Œ œ æ fi fl ©  ® ™< ! @ # / + \ $ % ^{ } *|; ( = ) [ ~ ] > ? '  , & . ` " 

semibold

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 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 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾Œ œ æ fi fl ©  ® ™< ! @ # / + \ $ % ^{ } *|; ( = ) [ ~ ] > ? '  , & . ` " 

bold

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

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 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾Œ œ æ fi fl  © ® ™< ! @ # / + \ $ % ^{ } *|; ( = ) [ ~ ] > ? '  , & . ` " 

22

A Midsummer Night’s Typeface


The Fairies

A

Oberon Titania

A

Robin Goodfellow / Puck

Peaseblossom


italic

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

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 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾Œ œ æ fi fl ©  ® ™< ! @ # / + \ $ % ^{ } *|; ( = ) [ ~ ] > ? '  , & . ` " 

24

A Midsummer Night’s Typeface

semibold italic

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 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 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾Œ œ æ fi fl  © ® ™< ! @ # / + \ $ % ^{ } *|; ( = ) [ ~ ] > ? '  , & . ` " 

bold italic

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 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 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9¼ ½ ¾Œ œ æ fi fl  © ® ™< ! @ # / + \ $ % ^{ } *|; ( = ) [ ~ ] > ? '  , & . ` " 


N y


regular 8/10

semibold

9/11

bold 10/12

italic

11/13

semibold italic 12/14

bold italic 14/16

semibold 18/20

26

A Midsummer Nightâ&#x20AC;&#x2122;s Typeface

I have had a dream, past the wit of man to say what dream it was.

I have had a dream, past the wit of man to say what dream it was.

I have had a dream, past the wit of man to say what dream it was.

I have had a dream, past the wit of man to say what dream it was.

I have had a dream, past the wit of man to say what dream it was.

I have had a dream, past the wit of man to say what dream it was.

I have had a dream, past the wit of man to say what dream it was.


} Q

o}

straight tail

slanted axis

} Q

g}

decorative tail

enclosed loop

Adobe Caslon Pro

27


Cobweb First Fairy

Mustardseed

Second Fairy

Moth


chapter four Richard Liptonâ&#x20AC;&#x2122;s Bickham Script is a flowing, formal script typeface based on the lettering of 18th century writing masters, as rendered in the unparalleled engravings of George Bickham. This ornate script lends a signature flourish to invitations, menus, annual reports, restaurant logos, and packaging. It is intended for display text. With dozens of alternate letterforms in addition to its range of weights, Bickham Scriptâ&#x20AC;&#x2122;s personality can range from poised to extravagant.


regular

semibold

bold

32

A Midsummer Night’s Typeface

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 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾Œ œ æ fi fl © ® ™ < ! @ # / + \ $ % ^{ } *|; ( = ) [ ~ ] > ? '  , & . ` " 

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 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾Œ œ æ fi fl © ® ™ < ! @ # / + \ $ % ^{ } *|; ( = ) [ ~ ] > ? '  , & . ` " 

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 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾Œ œ æ fi fl © ® ™ < ! @ # / + \ $ % ^{ } *|; ( = ) [ ~ ] > ? '  , & . ` " 


• •

The Mechanicals Peter Quince

Nick Bottom

Francis Flute  •


I merely “ attempted to capture the energy of these extravagent scripts.”



regular 11/13

semibold

12/14

bold 14/16

regular 18/20

semibold 24/26

bold

30/32

bold 36/38

36

A Midsummer Nightâ&#x20AC;&#x2122;s Typeface

To show our simple skill, That is the true beginning of our end.

To show our simple skill, That is the true beginning of our end.

To show our simple skill, That is the true

To show our simple skill, That is the true

To show our simple skill,

To show our simple

To show our sim-


p}

â&#x20AC;˘}

elegant tail

one of many flourishes

Q} Z}

unique, cursive capital q

calligraphic capital z

Bickham Script Std

37


Robin Starveling

Tom Snout

• Snug



colophon This book was created and designed with Adobe InDesign CS6. The main typeface for this book is Perpetua Std. Other typefaces include itc Avant Garde, itc Tiffany Std, Adobe Caslon Pro and Bickham Script Std. Information on the typefaces and designers can be found on: adobe.com identifont.com myfonts.com Quotes are taken from the book A Midsummer Nightâ&#x20AC;&#x2122;s Dream. Other quotes are by each designer. A special thanks to Elaine Coder for her guidance and knowledge during the process of making this book.

Colophon

41


A Midsummer Night's Typeface  

Type specimen for Typography class By: Dan Mongan

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