Kayleen Mercer 2d. Presentation Final
Type Specimen Layout Example Page by Page Overview
Detailed Page Overview
Sabon LT Pro
Detailed Page Overview
Linotype Jan Tschichold
Detailed Page Overview
S
Sabon LT Pro In the early 1960s, the German Master Printers’ Association requested that a new typeface be designed and produced in identical form on both Linotype and Monotype machines so that text and technical composition would match. Walter Cunz at Stempel responded by commissioning Jan Tschichold to design a new version of Claude Garamond’s serene and classical Roman. Its bold, and particularly its italic styles are limited by the requirements of Linotype casting machines, forcing the character widths of a given letter to match between styles, giving the italic its characteristic narrow f. The family’s name is taken from Jacques Sabon, who introduced Garamond’s Romans to Frankfurt. Sabon has long been a favorite of typographers for setting book text, due to its smooth texture, and in large part because Tschichold’s book typography remains world famous.
596 pt
LT
ROMAN
BOLD
ITALIC
BOLD ITALIC
Detailed Page Overview
P
Sabon LT Pro
A
B G
L
C H
M R
a l
D I
N S
E J
O T
P U
Y
Z
b
c
d
e
m r
i n
s w
j o
t x
f k
p u
y
Q V
X h
F K
W g
596 pt
33pt
q v
z
Detailed Page Overview
Sabon LT Pro
1 6 ! ^ { + ¬
33pt
2 7 @ & } < ±
∞
3 8 # * [ = ×
≈
4 9 $ ( ] > ÷
≠
5 0 % ) ? | ⁄
≤
In the beginning, God created the heavens and the earth. The earth was without form and void, and darkness was over the face of the deep. And the Spirit of God was hovering over the face of the waters. In the beginning, God created the heavens and the earth. The earth was without form and void, and darkness was over the face of the deep. And the Spirit of God was hovering over the face of the waters.
~ − ≥
In the beginning, God created the heavens and the earth. The earth was without form and void, and darkness was over the face of the deep. And the Spirit of God was hovering over the face of the waters. In the beginning, God created the heavens and the earth. The earth was without form and void, and darkness was over the face of the deep. And the Spirit of God was hovering over the face of the waters.
Detailed Page Overview
Sabon LT Pro Anatomy
Curved Apex Sloped Lobe
The Function Of the Logo Billboard Advertising What Makes Flyers Unrivaled Comests, Visitors From Beyond
Abrupt Curvilinear Branch
Aa Mm Qq Vertex Tail
Pen Serif
Descender
Classification: Humanist Serif
Design
Humanist serif typefaces emulate classical calligraphy with contrasting strokes. Humanist typefaces were the first Roman typefaces. Other characteristics of Humanist typefaces are small x-height, and low contrast between strokes. It is often see classic and traditional things printed with a humanist serif typeface, like books and articles.
Sabon LT Pro was influenced by the types of Claude Garamond with the italic taking inspiration from Robert Granjon, a contemporary of Garamond’s. It’s a quintessential body text serif that is popular in book design, however, it doesn’t seemed to be used much on the web.
Detailed Page Overview
For more information https://www.myfonts.com/fonts/linotype/sabon/ https://en.wikipedia.org/wiki/Sabon https://www.typewolf.com/site-of-the-day/fonts/sabon https://www.pluralsight.com/blog/creative-professional/ meaning-behind-chosen-typeface
Kayleen Mercer
ART GR 274 – TYPOGRAPHY II, SPRING 2020
Detailed Page Overview
S
Systems Overview
Sabon LT Pro Linotype Jan Tschichold
Sabon LT Pro In the early 1960s, the German Master Printers’ Association requested that a new typeface be designed and produced in identical form on both Linotype and Monotype machines so that text and technical composition would match. Walter Cunz at Stempel responded by commissioning Jan Tschichold to design a new version of Claude Garamond’s serene and classical Roman. Its bold, and particularly its italic styles are limited by the requirements of Linotype casting machines, forcing the character widths of a given letter to match between styles, giving the italic its characteristic narrow f. The family’s name is taken from Jacques Sabon, who introduced Garamond’s Romans to Frankfurt. Sabon has long been a favorite of typographers for setting book text, due to its smooth texture, and in large part because Tschichold’s book typography remains world famous.
ROMAN ITALIC
LT
BOLD BOLD ITALIC
P
Sabon LT Pro
A
In the beginning, God created the heavens and the earth. The earth was without form and void, and darkness was over the face of the deep. And the Spirit of God was hovering over the face of the waters.
B G
L
C H
M R
a
S
l
U
V e
j o
t x
f + ¬
k p
u y
1 6 ! ^ {
Q
Z
d
n
F K
P
Y i
s w
O
c
m
E J
T
h
r 596 pt
D
X
b g
Sabon LT Pro
I N
W
q
Curved Apex Sloped Lobe
The Function Of the Logo Billboard Advertising What Makes Flyers Unrivaled Comests, Visitors From Beyond
In the beginning, God created the heavens and the earth. The earth was without form and void, and darkness was over the face of the deep. And the Spirit of God was hovering over the face of the waters.
For more information https://www.myfonts.com/fonts/linotype/sabon/ https://en.wikipedia.org/wiki/Sabon https://www.typewolf.com/site-of-the-day/fonts/sabon https://www.pluralsight.com/blog/creative-professional/ meaning-behind-chosen-typeface
Kayleen Mercer
ART GR 274 – TYPOGRAPHY II, SPRING 2020
Abrupt Curvilinear Branch
Aa Mm Qq Vertex Tail
Pen Serif
Descender
Classification: Humanist Serif
Design
Humanist serif typefaces emulate classical calligraphy with contrasting strokes. Humanist typefaces were the first Roman typefaces. Other characteristics of Humanist typefaces are small x-height, and low contrast between strokes. It is often see classic and traditional things printed with a humanist serif typeface, like books and articles.
Sabon LT Pro was influenced by the types of Claude Garamond with the italic taking inspiration from Robert Granjon, a contemporary of Garamond’s. It’s a quintessential body text serif that is popular in book design, however, it doesn’t seemed to be used much on the web.
33pt
2 7 @ & } < ±
∞
v z
Sabon LT Pro Anatomy
In the beginning, God created the heavens and the earth. The earth was without form and void, and darkness was over the face of the deep. And the Spirit of God was hovering over the face of the waters. In the beginning, God created the heavens and the earth. The earth was without form and void, and darkness was over the face of the deep. And the Spirit of God was hovering over the face of the waters.
33pt
596 pt
3 8 # * [ = ×
≈
4 9 $ ( ] > ÷
≠
5 0 % ) ? | ⁄
≤
~ − ≥
Type Specimen Comparisons Page by Page Overview
Front Cover
Sabon LT Pro
Baskerville URW
Brandon Grotesque
FF Scala Sans
Fenice Pro ITC
Museo Slab
Trade Gothic Next
Type Foundry + Designer
Linotype
URW Type Foundry
ITC
exljbris
Jan Tschichold
John Baskerville
Aldo Novarese
Jos Buivenga
HVD Fonts
FontFont
Linotype
Hannes von Döhren.
Martin Majoor
Jackson Burke, Akira Kobayashi, Tom Grace
Typographic Designs
Family Comparison Overlay
S B FM B S T 596 pt
596 pt
596 pt
596 pt
596 pt
504 pt
596 pt
History + Type Families
Sabon LT Pro In the early 1960s, the German Master Printers’ Association requested that a new typeface be designed and produced in identical form on both Linotype and Monotype machines so that text and technical composition would match. Walter Cunz at Stempel responded by commissioning Jan Tschichold to design a new version of Claude Garamond’s serene and classical Roman. Its bold, and particularly its italic styles are limited by the requirements of Linotype casting machines, forcing the character widths of a given letter to match between styles, giving the italic its characteristic narrow f. The family’s name is taken from Jacques Sabon, who introduced Garamond’s Romans to Frankfurt. Sabon has long been a favorite of typographers for setting book text, due to its smooth texture, and in large part because Tschichold’s book typography remains world famous.
ROMAN ITALIC
LT
Baskerville URW
Fenice Pro ITC
Museo Slab
Baskerville is a serif typeface designed in the 1750s by John Baskerville (1706–1775) in Birmingham, England, and cut into metal by punchcutter John Handy. Baskerville is classified as a transitional typeface, intended as a refinement of what are now called old-style typefaces of the period, especially those of his most eminent contemporary, William Caslon. The curved strokes are more circular in shape, and the characters became more regular. These changes created a greater consistency in size and form, influenced by the calligraphy Baskerville had learned and taught as a young man. Baskerville's typefaces remain very popular in book design and there are many modern revivals, which often add features such as bold type which did not exist in Baskerville's time.
Fenice Pro ITC font (pronounced fe-nee-chay) is the work of designer Aldo Novarese and was influenced by the traditional designs of Didot, Bodoni, and Ibarra. It was originally produced by the Berthold foundry in 1977, and was licensed by International Typeface Corporation in 1980. It displays the fine serifs of a Bodoni but blends such characteristics with a contemporary structural style. Fenice Pro ITC is perfect for applications requiring the economical use of space. With its large x-height and condensed proportions and spiky vertical terminals, Fenice Pro ITC is a contemporary interpretation of the crisp moderns. The range of weights provides flexibility for display applications or short text blocks.
Museo Slab is a robust slab serif with Museo's friendliness. Designed by Jos Buivenga, the Museo Slab font family is a perfect match for Museo Sans. Buivenga explains that the origin of Museo is to be found in his particular love for uppercase ‘U’ and a spontaneous mental picture that came to him concerning the form of the font’s serifs. With his vision of stems bent into semi-slab serifs in mind, Buivenga created Museo, whereby the almost total lack of differentiation in line width additionally emphasizes the linear character of the letters. The Museo Slab font family contains 6 weights & 12 styles. Each font contains approximately 455 glyphs with extensive OpenType features: ligatures, case sensitive forms, proportional & tabular oldstyle figures, proportional & tabular lining figures, fractions, superiors, inferiors, numerators and denominators.
BOLD BOLD ITALIC
BV
REGULAR
EXTRA BOLD
REGULAR ITALIC
EXTRA BOLD OBLIQUE
LIGHT
LIGHT
MEDIUM
ULTRA BOLD
LIGHT OBLIQUE
BOLD OBLIQUE
MEDIUM OBLIQUE
ULTRA BOLD OBLIQUE
REGULAR
ULTRA
OBLIQUE
ULTRA OBLIQUE
BOLD BOLD OBLIQUE
Brandon Grotesque Brandon Grotesque is a sans serif type family of six weights plus matching italics. It was designed by Hannes von Döhren in 2009/10. Influenced by the geometric-style sans serif faces that were popular during the 1920s and 30s, the fonts are based on geometric forms that have been optically corrected for better legibility. Brandon Grotesque has a functional look with a warm touch. While the thin and the black weights are great performers in display sizes the light, regular and medium weights are well suited to longer texts. The small x-height and the restrained forms lend it a distinctive elegance. Brandon Grotesque is equipped for complex, professional typography. The OpenType fonts have an extended character set to support Central and Eastern European as well as Western European languages.
FP
FF Scala Sans Pro
BG
FF Scala Sans is a humanist sans-serif typeface designed by Dutch designer Martin Majoor in 1993 for the Vredenburg Music Center in Utrecht, the Netherlands. It was designed as a companion to Majoor's earlier serif old style typeface FF Scala, designed in 1990. The family has 10 weights, ranging from Light to Black in Condensed and Normal (including italics) and is ideally suited for advertising and packaging, book text, editorial and publishing, logo, branding and creative industries, small text, wayfinding and signage as well as web and screen design.
SS
100
500
900
100 ITALIC
500 ITALIC
900 ITALIC
300
700
1000
300 ITALIC
700 ITALIC
1000 ITALIC
Trade Gothic Next LT Pro Trade Gothic Next is the 2008 revision of Jackson Burke’s design. Developed over a prolonged period of time, the original Trade Gothic showed many inconsistencies. Under the direction of Linotype’s Type Director Akira Kobayashi, American type designer Tom Grace, a graduate of the MA Typeface Design in Reading, redesigned, revised and expand the Trade Gothic family. Many details were improved, such as the terminals and stroke endings, symbols, and the spacing and kerning. Moreover, there are newly added compressed widths and heavy weights perfect for setting even more powerful headlines. Trade Gothic Next brings more features and better quality for today’s demanding typographers.
LT
LIGHT
CONDENSED
COMPRESSED
LIGHT ITALIC
CONDENSED ITALIC
COMPRESSED BOLD
REGULAR
CONDENSED BOLD
COMPRESSED HEAVY
ITALIC
CONDENSED BOLD ITALIC
BLACK
BOLD
CONDENSED HEAVY
BLACK ITALIC
BOLD ITALIC
CONDENSED HEAVY ITALIC
THIN
REGULAR
BOLD
LIGHT
BOLD
CONDENSED
THIN ITALIC
REGULAR ITALIC
BOLD ITALIC
LIGHT ITALIC
BOLD ITALIC
CONDENSED BOLD
LIGHT
MEDIUM
BLACK
REGULAR
LIGHT ITALIC
MEDIUM ITALIC
BLACK ITALIC
ITALIC
HEAVY HEAVY ITALIC
MS
Uppercase + Lowercase Alphabet
Sabon LT Pro
A
B G
L
C H
M R
a
D I
N S
E J
O T
P U
Y
Z
b
c
d
e
h
r
i n
s w
j o
t x
f
a
q
l
M
A
B G
L
C H
M R
a
E J
O T
Y
Z
b
c
d
e
h
Z
b
c
d
e
r
i n
s w
j o
t x
s
j o
t x
L
f
a
q
l
L
a
q
l
k v z
M R
f
C
D I
N S
E J
O T
X
Y
Z
b
c
d
e
h
Z
b
c
d
e
r
i n
s w
j o
t x
s
j o
t x
L
f
a
q
l
L
a
q
l
z
D I
N S
E J
O T
P U
Y
Z
b
c
d
e
h
r
i n
s w
j o
t x
f k
p u
y
Q V
X
m
F K
W g
k v
M R
f
C H
33pt
q v
z
E J
O T
P U
Y
Z
b
c
d
e
i n
s
j o
t x
f k
p u
y
Q V
X h
F K
W
w
B
N
m
z
D I
S
r
A
C
M
g
v
33pt
H
R
k
u y
Q
p
B G
G Q
p u
y
i n
A
V
V
Y
h
F
P U
X
m
P U
K
W g
O T
F K
Trade Gothic Next LT Pro
33pt
H
E J
W
w
B
N
m
z
Museo Slab 700
D I
S
r
A
C
M
g
v
33pt
H
R
k
u y
Q
p
B G
G Q
p u
y
i n
A
V
V
Y
h
F
P U
X
m
P U
K
W g l
N S
O T
F K
FF Scala Sans Pro
D I
E J
X
w
33pt
Fenice Pro ITC
W
r
Brandon Grotesque
N
m
z
D I
S
g
v
33pt
C H
R
k
u y
L
Q
p
B G
V
X
m
A
F K
W g l
Baskervillew URW
33pt
q v
z
Numbers + Symbols + Glyphs
Sabon LT Pro
1 6 ! ^ { + ¬
2 7 @ & } < ±
∞
Baskervillew URW
33pt
3 8 # * [ = ×
≈
4 9 $ ( ] > ÷
≠
| ⁄ ≤
1 6 ! ^ {
5 0 % ) ? + ¬
~ −
< ± ∞
≥
Brandon Grotesque
1 6 ! ^ { + ¬
< ± ∞
33pt
2 7 @ & }
3 8 # * [ = ×
≈
3 8 # * [ = ×
≈
4 9 $ ( ] > ÷
≠
Fenice Pro ITC
5 0 % ) ? | ⁄
≤
1 6 ! ^ { + ¬
~ −
4 9 $ ( ]
5 0 % ) ? | ⁄
≤
1 6 ! ^ { ~ −
≥
+ ¬
< ± ∞
3 8 # * [ = ×
≈
4 9 $ ( ] > ÷
≠
3 8 # * [ = ×
≈
Museo Slab 700
4 9 $ ( ] > ÷
≠
5 0 % ) ? | ⁄
≤
1 6 ! ^ { ~ −
+ ¬
≥
| ⁄ ≤
1 6 ! ^ {
5 0 % ) ? ~ − ≥
+ ¬
2 7 @ & } < ±
∞
3 8 # * [ = ×
≈
33pt
4 9 $ ( ] > ÷
≠
5 0 % ) ? | ⁄
≤
~ − ≥
33pt
2 7 @ & } < ±
∞
Trade Gothic Next LT Pro
33pt
2 7 @ & }
33pt
2 7 @ & } < ±
∞
≥
FF Scala Sans Pro
> ÷ ≠
2 7 @ & }
33pt
3 8 # * [ = ×
≈
4 9 $ ( ] > ÷
≠
5 0 % ) ? | ⁄
≤
~ − ≥
Family + Weight Sentence Structure
In the beginning, God created the heavens and the earth. The earth was without form and void, and darkness was over the face of the deep. And the Spirit of God was hovering over the face of the waters.
By the end of the course, I was a complete basket case.
In the beginning, God created the heavens and the earth. The earth was without form and void, and darkness was over the face of the deep. And the Spirit of God was hovering over the face of the waters. In the beginning, God created the heavens and the earth. The earth was without form and void, and darkness was over the face of the deep. And the Spirit of God was hovering over the face of the waters. In the beginning, God created the heavens and the earth. The earth was without form and void, and darkness was over the face of the deep. And the Spirit of God was hovering over the face of the waters.
This was a new side to Brandon. It was quite grotesque. This was a new side to Brandon. It was quite grotesque. This was a new side to Brandon. It was quite grotesque. This was a new side to Brandon. It was quite grotesque. This was a new side to Brandon. It was quite grotesque. This was a new side to Brandon. It was quite grotesque.
The Nine Muses were: Clio, Euterpe, Thalia, Melpomeni, Terpsichore, Erato, Polymnia, Ourania and Calliope.
If you are visiting Venice, La Fenice Opera House is definitely a must for making your stay in Venice unique!
By the end of the course, I was a complete basket case.
The Nine Muses were: Clio, Euterpe, Thalia, Melpomeni, Terpsichore, Erato, Polymnia, Ourania and Calliope.
If you are visiting Venice, La Fenice Opera House is definitely a must for making your stay in Venice unique!
By the end of the course, I was a complete basket case.
The Nine Muses were: Clio, Euterpe, Thalia, Melpomeni, Terpsichore, Erato, Polymnia, Ourania and Calliope. The Nine Muses were: Clio, Euterpe, Thalia, Melpomeni, Terpsichore, Erato, Polymnia, Ourania and Calliope.
If you are visiting Venice, La Fenice Opera House is definitely a must for making your stay in Venice unique!
By the end of the course, I was a complete basket case. By the end of the course, I was a complete basket case.
The Nine Muses were: Clio, Euterpe, Thalia, Melpomeni, Terpsichore, Erato, Polymnia, Ourania and Calliope.
If you are visiting Venice, La Fenice Opera House is definitely a must for making your stay in Venice unique!
The Nine Muses were: Clio, Euterpe, Thalia, Melpomeni, Terpsichore, Erato, Polymnia, Ourania and Calliope.
She works as a set designer for the La Scala Opera House located in Italy.
American Gothic is a 1930 painting by Grant Wood in the collection of the Art Institute of Chicago.
She works as a set designer for the La Scala Opera House located in Italy.
American Gothic is a 1930 painting by Grant Wood in the collection of the Art Institute of Chicago.
She works as a set designer for the La Scala Opera House located in Italy.
American Gothic is a 1930 painting by Grant Wood in the collection of the Art Institute of Chicago.
She works as a set designer for the La Scala Opera House located in Italy.
American Gothic is a 1930 painting by Grant Wood in the collection of the Art Institute of Chicago.
Family + Weight Example Headings
The Function Of the Logo Billboard Advertising What Makes Flyers Unrivaled Comests, Visitors From Beyond
The Function Of the Logo Billboard Advertising What Makes Flyers Unrivaled Comests, Visitors From Beyond Understanding Colors Las Maquinas Tragamonedas Public Relations World Health Organization Social Distancing Self-Care Tips
The Function Of the Logo Billboard Advertising What Makes Flyers Unrivaled Comests, Visitors From Beyond Understanding Colors Las Maquinas Tragamonedas Public Relations World Health Organization Social Distancing Self-Care Tips Creative Journalism Writing What The Font
The Function Of the Logo Billboard Advertising What Makes Flyers Unrivaled Comests, Visitors From Beyond Understanding Colors Las Maquinas Tragamonedas Public Relations World Health Organization
The Function Of the Logo Billboard Advertising What Makes Flyers Unrivaled Comests, Visitors From Beyond Understanding Colors Las Maquinas Tragamonedas Public Relations World Health Organization Social Distancing Self-Care Tips
The reliable workhorse From east coast to west coast Pulling its weight and to spare Truth in advertising Burke from Berkeley The real American Gothic Adobe Creative Cloud Apple Music Iowa State University
The Function Of the Logo Billboard Advertising What Makes Flyers Unrivaled Comests, Visitors From Beyond Understanding Colors Las Maquinas Tragamonedas Public Relations World Health Organization Social Distancing Self-Care Tips Creative Journalism Writing What The Font
Type Specimen Anatomy
Baskerville URW Anatomy
Sabon LT Pro Anatomy
Fenice Pro ITC Anatomy Curved Apex
Curved Apex
Curved Apex Sloped Lobe
Sloped Abrupt Lobe
Abrupt Curvilinear Branch
Tail
Tail
Design
Humanist serif typefaces emulate classical calligraphy with contrasting strokes. Humanist typefaces were the first Roman typefaces. Other characteristics of Humanist typefaces are small x-height, and low contrast between strokes. It is often see classic and traditional things printed with a humanist serif typeface, like books and articles.
Sabon LT Pro was influenced by the types of Claude Garamond with the italic taking inspiration from Robert Granjon, a contemporary of Garamond’s. It’s a quintessential body text serif that is popular in book design, however, it doesn’t seemed to be used much on the web.
Design
Transitional serif fonts date back to the 18th century and they are the bridge between Humanist and Old Style serif fonts to Modern typefaces. One of their features is that they have much more contrast between thick and thin strokes, also they have a more vertical axis.
Baskerville's typeface was part of an ambitious project to create books of the greatest possible quality. Compared to earlier designs popular in Britain, Baskerville 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.
Brandon Grotesque Anatomy
Aa Mm Qq Vertex Tail Slab Serif
Descender
Classification: Transitional Serif
Smooth Curvilinear Branch
Tail
Hairline Serif Descender
Classification: Humanist Serif
Horizontal Lobe
Vertex
Pen Serif
Descender
Smooth Curvilinear Branch
Aa Mm Qq
Vertex
Vertex Pen Serif
Flat Apex
Sloped Smooth Lobe
Abrupt Curvilinear Branch
Aa Mm Qq
Aa Mm Qq
Museo Slab Anatomy
Design
Classification: Slab Serif
Design
Didone, or modern, serif typefaces, which first emerged in the late 18th century, are characterized by extreme contrast between thick and thin lines. These typefaces have a vertical stress and thin serifs with a constant width, with minimal bracketing (constant width).
Fenice Pro ITC is a neoclassical design in the tradition of Didot and Bodoni. Its 18th century predecessors exhibit a highly sophisticated design philosophy, and represented the ultimate refinement of the typographic letter at that time. Fenice Pro ITC retains the distinctive characteristics and subtle refinements of earlier designs, but it also accommodates today’s technology and typographic needs.
A slab serif (also called mechanistic, square serif, antique or Egyptian) typeface is a type of serif typeface characterized by thick, block-like serifs. Serif terminals may be either blunt and angular, or rounded. Slab serifs were invented in and most popular during the nineteenth century. Slab serifs form a large and varied genre.
Museo Slab's design came out of the creator Jos Buivenga playing around with Museo Sans. He added slab serifs while also adjusting weight, width, and contrast and discovered how much he enjoy it and decided to refine it further to what it is now today.
Trade Gothic Next Anatomy
FF Scala Sans Pro Anatomy
Square Cut Sans Serif
Rounded Apex
Aa Bb Yy
Flat Apex Abrupt Curvilinear Branch
Reversed Lobe
Aa Mm Qq Vertex
Tail Rounded Smooth Sans Serif
Descender
Classification: Geometric Sans
Design
Influenced by Bauhaus designers in the early 20th century, Geometric Sans typefaces are sans serif fonts derived from simple geometric shapes – circles, triangles and rectangles. With minimal contrast and even widths, Geometric typefaces have a cohesive, but contemporary feel.
Brandon Grotesque was heavily influenced by the geometric typefaces that originated in the 1920s, taking a little more influence from Erbar rather than the more well-known design from that time period, Futura. According to Hannes von Döhren, he wanted to create a font that would possess a certain softness and warmth based on magazines he was fasincated by given to him by his father that were from 1920s and 1930s.
Sloped Abrupt Lobe
Abrupt Curvilinear Branch
Aa Mm Qq Vertex
Tail
Square Cut Sans Serif
Descender
Classification: Modern Serif
Descender
Classification: Humanist Sans
Design
Humanist sans-serif typefaces are characterized by the presence of the hand, an uppercase similar in proportion to the monumental Roman capitals, a lowercase similar in form to the Carolingian script, and an overall more organic structure. Humanist sans-serif typefaces frequently have a true italic rather than a sloped roman.
According to Majoor, the FF Scala Sans font was designed by basically cutting off the serifs and lowering the contrast. This "cutting" aspect is noticeable in the terminals and apexes. The overall design takes its structural cues from traditional Renaissance Romans, rather than following an established sans serif model.
Flat Apex
Smooth Horizontal Waist
Bowl
Descender
Arc
Aa Bb Yy Rounded Smooth Sans Serif
Classification: Transitional Sans
Design
Transitional sans serif typefaces are pretty closely related to the characteristics of transitional serif typefaces, these typefaces include a more upright axis and a uniform stroke. A good example of Transitional sans serif typefaces is Helvetica.
Trade Gothic Next SR Pro and LT Pro have small differences that are noticeable in the terminals and apexes. SR Pro is smoother while LT Pro is more refined. Overall, SR Pro has softer, rounded ends while LT Pro is uniformed in its ends.
Type Specimen Information Sources
For more information
For more information
For more information
For more information
https://www.myfonts.com/fonts/linotype/sabon/
https://en.wikipedia.org/wiki/Baskerville
https://en.wikipedia.org/wiki/Sabon
https://www.fonts.com/content/learning/fontology/level-1/typeanatomy/type-classifications
https://www.fonts.com/content/learning/fyti/typographicreference/itc-fenice-itc-mixage
https://www.fonts.com/font/exljbris/museo-slab/ story
https://www.typewolf.com/site-of-the-day/fonts/sabon https://www.pluralsight.com/blog/creative-professional/ meaning-behind-chosen-typeface
Kayleen Mercer
ART GR 274 – TYPOGRAPHY II, SPRING 2020
Kayleen Mercer
https://en.wikipedia.org/wiki/Serif https://www.fonts.com/font/itc/itc-fenice/story
ART GR 274 – TYPOGRAPHY II, SPRING 2020
Kayleen Mercer
https://www.linotype.com/6837/museo.html
ART GR 274 – TYPOGRAPHY II, SPRING 2020
For more information
For more information
For more information
https://www.typewolf.com/site-of-the-day/fonts/brandon-grotesque
https://en.wikipedia.org/wiki/Category:Humanist_sans-serif_typefaces
https://www.fonts.com/font/hvd-fonts/brandon-grotesque/story
https://www.fonts.com/font/fontfont/ff-scala-sans/story
https://medium.com/@nerimbarakat/the-fundamental-elements-ofdesign-4266fa0df7aa
https://catalog.monotype.com/type-style/sans-serif/geometric-sans https://www.myfonts.com/fonts/hvdfonts/brandon-grotesque/
Kayleen Mercer
ART GR 274 – TYPOGRAPHY II, SPRING 2020
https://en.wikipedia.org/wiki/FF_Scala_Sans
Kayleen Mercer
ART GR 274 – TYPOGRAPHY II, SPRING 2020
https://www.linotype.com/5737/trade-gothic-next.html https://www.fonts.com/font/linotype/trade-gothic-next/story
Kayleen Mercer
ART GR 274 – TYPOGRAPHY II, SPRING 2020
Kayleen Mercer
ART GR 274 – TYPOGRAPHY II, SPRING 2020
Back Cover
Type Specimen Book Mock-Up Page by Page Overview
Front Cover
Page Example
Page Example
Page Example
Page Example
Page Example
Page Example
Front + Back Cover