type specimens presentation

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