MoMA Branding Research

Milica Kovacevic FCD652-11

MoMA PS1 Street Mural, retrieved from https://order.design/project/moma

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Table of Contents Visual History Introduction.................................2

1964 MoMA: The Origins............3

1966-1980s The famous “o”......... 4

2002 MoMA Gothic.................... 5

2017- MoMA Sans.......................6

2019 The MoMA Brand...............7 Evolution of Print Materials

1964 - 1990s................................ 8

2009 The Grid............................. 9-10

2019 MoMA Today...................... 11-12 Growth of Digital Materials 1995-2003................................... 13

2006 The Early Web Redesign......14

2009 Digital Upgrade...................15

2016-2018 Website...................... 16

2017 eCommerce......................... 17

2019 MoMA Now........................18-19 Typeset Typographic Options

Franklin Gothic............................20 Garamond.................................... 21 DIN............................................. 22 References ............................................ 23-25

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Visual History Introduction

Brand DNA

Located in Midtown Manhattan, New York City, The Museum of Modern Art (MoMA) is a global leader in developing and collecting modern art, and is frequently mentioned as one of the most significant museums of modern art in the world (MoMA, n.d.). The Museum’s collection showcases both modern and contemporary art, including works of architecture and design, drawing, painting, sculpture, photography, prints, illustrated books and artist’s books, film, and electronic media (MoMA, n.d.).

The Museum of Modern Art showcases its commitment to contemporary art by establishing, preserving, and documenting a permanent collection that reflects the vitality, complexity and unfolding patterns of modern art (MoMA, n.d.). This is possible through exhibitions and educational programs, sustained library and conservation recognized as international centres of research; and by supporting scholarship and publications (MoMA, n.d.).

The MoMA Library includes approximately 300,000 books and exhibition catalogs, more than 1,000 periodical titles, and more than 40,000 files on individual artists and groups as primary source material related to the history of modern and contemporary art (MoMA, n.d.).

Brand Personality: • Established • Experimental • Inclusive • Accessible

Brand Values: • Commitment • Openness • Willingness to evolve

Brand DNA

History Three influential patrons of the arts, Lillie P. Bliss, Cornelius J. Sullivan, and John D. Rockefeller, Jr., challenged conservative policies of traditional museums in the late 1920s by forming an institution dedicated to modern art (MoMA, n.d.). They, along with A. Conger Goodyear, Paul Sachs, Frank Crowninshield, and Josephine Boardman Crane, created The Museum of Modern Art in 1929. Its founding director, Alfred H. Barr, Jr., devoted the Museum to helping people understand and enjoy the visual arts of the modern and post-modern time (MoMA, n.d.).

MoMA photographed by Timothy Hursley

The response to the Museum from the public was extremely positive, and over the next 10 years the institution moved three times and in 1939 it finally opened the doors of its current building in Midtown Manhattan (MoMA, n.d.). Barr created an elaborate plan for the Museum’s organization in the form of a multi-departmental framework that included architecture and design, drawings and prints, film, media and performance, painting and sculpture, and photography (MoMA, n.d.). Expansions took place during the 1950s and 1960s and in 1984, a major renovation designed by Cesar Pelli doubled the Museum’s gallery space and enhanced visitor facilities (MoMA, n.d.).

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Visual History 1964 MoMA: The Origins

Logo Typeface

MoMA’s logo and wordmark is constructed from an uncomplicated double syllable word, easily pronounceable by all, any age, backgroud or location (Graphéine, 2019). This interesting semantic and graphic choice gives rhythm and dimension to the logo, through the unity and tension between the small and the big; the round and the square (Graphéine, 2019).

The wordmark “The Museum of Modern Art” and MoMA logo were rendered in Morris Fuller Benton’s Franklin Gothic No.2 which remained the logotype for MoMA over the next 50 years (Graphéine, 2019). The American Franklin Gothic, through its emphasis on legibility and simplification of shapes, became the marker of typographical modernity in the mid to late 20th century (You Work For Them, 2020). The differing aspect of Franklin Gothic from other sans serif typefaces is the “double loop” on the lower case “a” and the “g” (You Work For Them, 2020).

The acronym is not only easier to pronounce and more memorable than “The Museum of Modern Art” but it also creates a more accessible image for the institution. This creates an emotional attachment with the public; the institution is not some daunting museum full of ancient artefacts for the educated and the rich - it is MoMA. Graphéine (2019) mentions that the syllables Mo and MA speak to possession and selfness: “Me, Mine and My”. This permits the Museum to shrink in scale in an everyday person’s view point; “It’s my MoMA” (Graphéine, 2019). The museum itself was established as a proponent of democratizing the access to culture, and this notion is exactly what its logo is furthering.

MoMA’s typographic identity was eventually standardized in 1964, through the establishment of of Franklin Gothic No. 2 typeface as the Museum’s logotype (Graphéine, 2019). The typeface was designed by Morris Fuller Benton, while the original logo was designed by Ivan Chermayeff and Tom Geismar (Graphéine, 2019). The minimalism of the logo conveys modesty, as well as simplicity of abstract and modern art, suprematism, Bauhaus, all of which inspired the logo’s ultimate design. The use of orange-red for Franklin Gothic lettering N°2 supports this intention by adding a warm touch of colour.

Ivan Chermayeff & Tom Geismar and The Museum of Modern Art Logo

Morris Fuller Benton and Frankling Gothic No.2 Typeface

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Visual History 1966-1980s The famous “o” The logo as we know it today, i.e. in its “MoMA” version with the lowercase “o” was a co-creation of the Geismar-Chermayeff studio which designed the original “MOMA” acronym, while the museum administration had the innimitable idea to change the “O” to a tiny “o”.

In his book, “Graphic Design, A new history”, professor Stephen F. Eskilson notes that the lowercase “o” appeared in the 1980s (Eskilson, 2019). The Museum’s administration took the ownership of introducing the “o” on internal documentation and rationalized it by saying that it attributes more personality to the logo, while almost making it look as if it was a name (Eskilson, 2019). Eskilson mentions that the lowercase “o” makes it simpler for non-native English speakers to break up the word and pronounce it correctly (Eskilson, 2019).

Championed by Alfred H. Barr, the director of the museum in 1966, for almost two decades, the MoMA logo with the lowercase “o” was used in-house only, and in 1980 it officially appeared in communication media for the public (Graphéine, 2019). It took another decade for the logo to appear on the banners outside of the museum (Graphéine, 2019).

Model of The Museum of Modern Art. From left: the west wing and tower (1984), architect César Pelli & Associates; center building (1939), architects Philip L. Goodwin and Edward D. Stone; east wing (1964), architect Philip Johnson

Alfred H. Barr and the MoMA Logo

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Visual History 2002 MoMA Gothic

Logo Typeface

With the dawn of the new millennium, MoMA saw an opportunity to bring its branding into the 21st century. The institution’s opportunities for effective graphic communication felt stagnant and tired.

In 2002, the design team at MoMA sought the advice of Canadian studio Bruce Mau to inject newness into MoMA’s typographic expression and create a new signage system (Bruce Mau Design, 2003). The studio attempted several typeface changes, however, soon they realized that Franklin Gothic was the truest form in which the logo should exist, due to its minimalist yet imperfect nature, full of personality (Graphéine, 2019). Bruce Mau studio concluded that MoMA in Franklin Gothic was both visible and prominent in New York’s busy urban environment, was already recognizable with the brand and within the museum it was easily legible and silently allowing art to shine, without stealing the spotlight (Bruce Mau Design, 2003).

In his interview with The New York Times, Matthew Carter noted that “lifting the Franklin Gothic was like asking an architect to design an exact replica of a building” (Bloom, 2003). This delivered the creation of the MoMA Gothic typeface, with strong resemblance to Franklin Gothic, however, with a few key changes such as shown below (Bloom, 2003). The typeface was developed in two forms, one for signage and the other for the layout of body texts.

Nevertheless, Bruce Mau saw an opportunity to fine tune the version of Franklin Gothic that the museum was using (Graphéine, 2019). As the Museum’s use of the typeface was evolving over the previous forty years, its forms started to diverge, and loose the full potential of the original personality and punch (Bloom, 2003). To develop a finely curated form of Franklin Gothic, Bruce Mau studio brought in type designer Matthew Carter (Bloom, 2003).

Matthew Carter and the MoMA Logo

The introduction of MoMA Gothic was intended to “templatize” the workload of the graphic department by sticking to one in-house designed font (Hoffmann, 2013). It also provided visual consistency and allowed the designers more time to focus on special projects (Hoffmann, 2013).

Matthew Carter’s corrections on MoMA logo in Franklin Gothic (above) MoMA Gothic typeface (below)

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Visual History 2017- MoMA Sans

Logo Typeface

Due for another rebrand and an overall shift in graphic communication strategy, in 2017, MoMA brought in Christian Shwartz, a known type designer working for Commercial Type studio who worked in tandem with Made Thought, a London design consultancy, as well as the MoMA internal design team (Graphéine, 2019).

Within MoMA’s graphic communications MoMA Gothic was used in combination with several related American Gothic typefaces: ITC Franklin Gothic, News Gothic, and Trade Gothic (Ruderman, 2013). In order to create something familiar yet different, Shwartz borrowed the characteristics of the Gothic typefaces, such as angled stroke terminals, special shapes of “G”, “R”, “a” and “g” and stroke contrast (Commericial Type, 2017). This resulted in the creation of MoMA Sans, a custom typeface that is both related to Franklin Gothic but also unique to MoMA and more adept at serving a wider range of contemporary typographic needs (Commericial Type, 2017). MoMA Sans’ x-height is a bit larger than of a typical American Gothic (Commericial Type, 2017). This provides improved readability on wall labels and on screen, while the decrease in angle width on terminals provided subtlety and less noise (Commericial Type, 2017). The overarching aim was for the typeface to be secondary to the art it accompanies, informing viewers without distracting them with visual tricks and busy details.

In 2017, the Museum underwent a dramatic expansion project within its physical space, which created a need for a renewal of communications and signage (Graphéine, 2019). The ask from the MoMA design team was to simplify the communication’s typeset that spanned across multiple sans typefaces at this point. Commercial Type needed to devise a singular type family whose flexible application would fit into multiple different typographic contexts, including exhibition graphics, print materials, subway posters, wall labels, film schedules, mobile apps, the website, and signage, etc (Ruderman, 2013).

In answer to this, Christian Shwartz and Made Thought delivered MoMA Sans. Christian Shwartz custom designed a sans serif typeface building upon the legacies of Franklin Gothic and MoMA Gothic, with focus on easier digital application and versatility and range (Ruderman, 2013). Team from Made Thought contributed by designing the italics and Cyrillic support; Greg Gazdowicz and Ilya Ruderman worked on them respectively (Ruderman, 2013). During this phase, the MoMA logo also received a facelift (Graphéine, 2019).

Christian Shwartz and the MoMA Logo in MoMA Sans

MoMA Sans Typeface

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Visual History 2019 The MoMA Brand In 2019, MoMA acquired an additional 40,000 sq. ft. of new gallery space. The idea for the expansion was to offer more room for diverse perspectives; diverse artists, new artistic periods, fresh media and unexplored geographies in art (Baird, 2020). Motion and performance was the key mandate for developing this new extension (Baird, 2020).

During the renovation, the New York-based design agency, Order, was brought in to accommodate the typographic communications needs of this rapidly evolving and growing institution (Graphéine, 2019). Order formalized a more flexible and expandable design framework, in tandem with typographic suggestions that provided differing seasonal applications (Graphéine, 2019).

The rebrand and redesign project encompassed the integration of PS1 and Design Store logos (Baird, 2020). These were officially to be identified under the MoMA umbrella through a standardized branding strategy. Other implementations of the new modular design, such as newsprint advertising, design store catalogue covers, member’s day programmes, banners, map and tickets, were developed by the MoMA Design Studio (Baird, 2020).

By creating tension between impactful contemporary colour blocking and MoMA’s featured art, Order’s redesign stood out in print, digital and the environment (Baird, 2020). From a digital stand point, Order was focused on creating visual motion and rhythm through both use of video as well as the emphasized use of MoMA Sans Bold (Baird, 2020).

MoMA Brand Logos (above), Brand Palette (bottom right), MoMA Sans Bold Typeface (top right)

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Evolution of Print Materials 1964 - 1990s With the brand typset formalized in 1964 with the use of Franklin Gothic No. 2, designed by Morris Fuller Benton, MoMA’s first logo was developed by Ivan Chermayeff and Tom Geismar (Graphéine, 2019).

Although at the time Franklin Gothic was used for the logotype, in 1970, one of the first publications released by the Museum was a book written by Barbara Rose for MoMA on the sculptural work of Claes Oldenburg (MoMA, n.d.). Its typeset was designed with a heavy use of Helvetica or Neue Haas Grotesk developed in 1957 by Swiss typeface designer Max Miedinger at the Haas Type Foundry (Identifont, n.d.). Although both sans serif fonts, and quite similar in their minimal aesthetic Franklin Gothic and Helvetica had some pronounced differences; the lower case g (Helvetica single storey, Franklin Gothic double storey) and the lower case a (Helvetica stem is straight, Franklin Gothic stem is curved), amongst a few other changes (Identifont, n.d.).

However, even with the somewhat consistent presence of Franklin Gothic in the context of branding, MoMA’s print material, logo presence and typeset applications were overall incosistent and varried, mainly due to the individual graphic approach for each every exhibition and event. The in-house design team used for event and exhibition posters, decorative typefaces for emphasis and effect. The images featured on the posters, were infrequently cropped and centrally positioned while being separated from the edge of the page by a 0.5’’-1’’ margin. This trend persisted well into the 1990s with varried typography and an almost ‘formal’ approach to MoMA’s layout design.

Barbara Rose: Claes Oldenburg book for The Museum of Modern Art, New York, 1970

Pablo Picasso Exhibition Poster at MoMA, 1980, retrieved from https://www.moma. org/calendar/exhibitions/1818/installation_images/23237

Sound Installation brochure at MoMA, 1979, retrieved from https://www.moma.org/calendar/exhibitions/4121

Stalin’s Choice Exhibition Poster at MoMA, 1994, retrieved from https://www.moma. org/calendar/exhibitions/4583

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Evolution of Print Materials 2009 The Grid In 2009, Paula Scher and her team at Pentagram, a New York design agency, were brought in to bring consistency to the MoMA’s graphic charter and to highlight the logo that up until that point had the propensity of appearing timid and in the background of large asset and exhibition posters (Graphéine, 2019). Paula Scher’s solution lies in the design of a composition grid that perfectly spaces out each piece of information and in which the MoMA logo is tilted vertically and placed in alignment to the left or the right margin (Pentagram, 2011). This unexpected visual effect for the museum was highly effective in the context of signage impact, which is an essential quality to stand out in the New York urban landscape (Graphéine, 2019). Julia Hoffmann, who at the time was MoMA’s Creative Director for Graphics and Advertising continued amplifying and extending upon Scher’s design startegy (Pentagram, 2011).

Paula Scher and the MoMA Poster Grid (left), MoMA Exhibition Poster Mockups (above)

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Evolution of Print Materials 2009 The Grid Pentagram aimed to develop an organized framework with flexibility of accommodating a variety of formats from print to web to environmental materials (Pentagram, 2011). The key device Paula Scher used to achieve this vision was the grid graphic layout that focused on the logo (Pentagram, 2011). Although, the MoMA logo was used as a graphic apparatus, the affective cropping, the juxtaposition of imagery and bold, yet soft, new colour palette cemented MoMA’s contemporary visual identity (Pentagram, 2011). This modern and innovative approach was deliberate; Pentagram aimed to emphasize the Museum’s identity and overall influence in the design industry (Graphéine, 2019).

The play on scale and close-up framing created a more recognizable and powerful association with the Museum, while simultaneously updating MoMA’s identity (Pentagram, 2011). The modular grid was put into place to standardize the positioning of the typographic elements and visual assets. Images of artworks were presented either whole or cropped for effect (Pentagram, 2011). The images were paired with the logo which was placed on a vertical axis. In most cases, the focus was on a singular image, reflecting the essence of the entire exhibition (Pentagram, 2011). Under or above the logotype, the short directory of future exhibits was laid out in the form of a block of text.

The distinctive quality of the grid design was that when posters or banners were observed in the outside environment, the design created pattern and rhythm through both typography and imagery, as well as through the use of colour and black and white (Pentagram, 2011). This typographic system had an inherent flexibility that gave MoMA the opportunity to evolve and and expand upon what was already there (Pentagram, 2011). The Pentagram visual branding was included on a variety of MoMA’s communication touchpoints both internal and external, including brochures, posters, banners, website and other materials, while individual exhibitions continued to have their distinct image (Pentagram, 2011).

MoMA Exhibition Poster (above) and MoMA Street Signage (below)

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Evolution of Print Materials 2019 MoMA Today In 2019, Order was tasked with building on Paula Scher’s MoMA rebranding from 2017 (Graphéine, 2019). The New York agency was to make key changes that would allow the MoMA brand even more flexibility, especially with ever evolving digital channels (Graphéine, 2019). This was an important development for MoMA, however, the continuity and fidelity to the brand codes established in 2017 was clear through the presence of the modular framework (Baird, 2020). Although, modular frameworks in visula communications can be very rigid, some tend to have more built in flexibility compared to others and this is what Order aimed to achieve (Baird, 2020). The new print applications share a new colourful, vibrant and rhythmic visual language focusing on proportions, type and colour (Baird, 2020). Order continually injected colour into the visual branding of print materials to keep reinterpreting the seasonal variations in typographic applications that MoMA adopted 2019 (Baird, 2020). This provided the Museum with a sense of flexibility for future adjustments and branding evolution, while firmly planting them in the here and now.

Cont’d on next page>>> MoMA PS1 Branding Applications on Street Mural (left), MoMA Branding Applications on Street Light Post Bannera (middle, right)

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Evolution of Print Materials 2019 MoMA Today

MoMA Branding Applications designed by MoMA Design Studio and Order

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Growth of Digital Materials 1995-2003

MoMA.org Landing Page, 2001

MoMA’s first web page was developed in 1995 in the form of a couple of somewhat rudimentary HTML exhibition sites for Mutant Materials and Video Space exhibitions (Persons, 2015). From its inception in 1995 until 2015 over 200 exhibition sites were created, documenting both MoMA’s growing collection, as well as global developments and progress in web design (Persons, 2015). The first website was characterized by the use of contrast colour, mix of serif and sans serif typefaces as well as a minimalistic aesthetic, where the MoMA logo was hierarchically deprioritized to create space for the exhibition topics to take center stage.

Mutant Materials MoMA exhibition, 1995

MoMA.org Landing Page, 2002

MoMA.org Landing Page, 1997

Kiki Smith: Prints, Books, & Things MoMA exhibition, 2003

In the early 2000s, the MoMA. org webpage was redesigned multiple times with the idea of introducing more of the collection to the viewer. The landing page was characterized with the soothing medium blue background, while exhibition pages, and other landing pages had their own colour to demarcate the visitors location (Burnette et Spann, 2006). The conversation during these early redesign projects was about the relationship of the logo to the museum and the logo to the website (The Museum of Modern Art vs MoMA.org). The Museum’s main typeface - Franklin Gothic for digital use - developed by Matthew Carter was implemented, and supplemented by DIN, which provided some flexibility (Burnette et Spann, 2006).

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Growth of Digital Materials 2006 The Early Web Redesign As part of its pattern of elevating graphic communications and digital access points to the brand with each physical space rennovation, in from 2005-2006 the MoMA website with its ecommerce store underwent a major redesign campaign. Prompted by the 2004 MoMA reopening of its doors to a captivating new building designed

by Japanese architect Yoshio Taniguchi, the focus digital interactions with the Museum’s patrons grew (Burnette et Spann, 2006).

MoMA.org landing page, 2006

At the same time, the MoMA Design and Book Store, both of which were designed by famed architect Richard Gluckman, opened with an entrance directly off of the Museum’s lobby, similar in relationship to that of the right-hand store presence on the home page of MoMA. org (Burnette et Spann, 2006).

The website was characterized by a strict grid, defined by the increased amount of textual information displayed on the landing page, as well as a prominent left hand expandable navigation menu.

The typefaces used for the website were exclusive to Matthew Carter’s Franklin Gothic typeface. The colour pallette was redefined from the early 2000s to include only white, grey and the custom deisgned Pantone red (Burnette et Spann, 2006), while injecting the same soothing blue from the ealier website renditions through the expandlable left hand side menu navigation.

MoMA Store landing page, 2006

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Growth of Digital Materials 2009 Digital Upgrade From 2007 until 2009 the MoMA.org website underwent another redesign project (Burnette, et al., 2009). What made this one extremely important is that it included an entire redefinition of the backend and front-end information technology, inclusive of a more contemporary design (Burnette, et al., 2009). Due to the magnitude of the undertaking, this project took approximately 18 months to complete (Burnette, et al., 2009). The website redesign project was led by Allegra Burnette, MoMA’s Creative Director for Digital Media, and Steven Peltzman, MoMA’s Chief Information Officer (Burnette, et al., 2009). MoMA supervised an in-house team and outside consultants, including For Office Use Only, New York, ShiftSpace, New York and Cogapp, Brighton, England (Burnette, et al., 2009).

The 2009 overhaul included dynamic features offering patrons an increasingly more customized appearance, with improved tools for navigation and providing visitors the ability to grasp the entirety of MoMA’s collection as well as exhibitions in an uncomplicated and intuitive manner (Burnette, et al., 2009).

The website’s new design featured an ephasis on the breadth of the museum’s collection (Burnette, et al., 2009). MoMA Gothic was the dominant typeface throughout the website, with several other sans serif fonts in supporting roles. The MoMA logo, appeared more prominently on the pages, and the brand finally settled on MoMA being the driving digital branding tool versus The Museum of Modern Art (2005) and MoMA.org (2002). The colour palette was inspired by the first MoMA logo from 1964 which was rendered in the Bauhaus orange-red shade (Burnette, et al., 2009).

MoMA Landing Page, 2009

MoMA Exhibitions web page, 2009

MoMA The Collection web page, 2009

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Growth of Digital Materials 2016-2018 Website From 2016 until 2018, MoMA’s website adoped a very minimal and symmetrical aesthetic. The page deemphasized showcasing the Museum’s breadth of collection, and focused on a streamlined and clean look. The central focus piece of the landing page was a revolving gallery, that showcased cropped and smaller scale images surrounded with ample negative space. This effect drew the viewer’s attention to the piece itself, without being distracted or overwhelmed with all the available exhibitions and other information on the page. The logo and navigation bar were central to the page, with the exhibition name being hierarchically the most important on the page.

The use of typefaces throughout the website was predominantly limited to MoMA’s custom designed digital rendition of Franklin Gothic and its supporting typefaces such as Din. The colour palette supporting this minimal aesthetic is limited to black, white and medium grey.

MoMA Plan Your Visit Page, 2017

MoMA Landing Page, 2017

MoMA Art and artists Page, 2017

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Growth of Digital Materials 2017 eCommerce In 2017, MoMA underwent a website redesign with the MoMA Museum Gift Shop e-commerce website undergoing a long overdue renovation project. For this project the Museum enlisted the help of Eddie Sharke and his colleague Nelly Esperon form Medium, a New York web design studio (Sharke, 2017). The idea for this massive re-design was to provide the Museum Gift Store with the necessary infrastructure and design capabilities in order to compete with large e-tailers such as Amazon (Sharke, 2017). The MoMA store offers much more than souvenirs and postcards, selling innovative and design-centric items, from housewares to kitchen items to electronics and toys (Sharke, 2017). In order to best showcase its assortment and support these artists and designers entrusting MoMA with the sale of their products, the Museum needed to elevate its presence in the e-commerce world to stay relevant in this space (Sharke, 2017).

The main changes in terms of the layout of the digital store included improving the information architecture, more intuitive user experience and improvements to the visual design (Sharke, 2017).

Keeping the MoMA brand guidelines in mind, Sharke refreshed the image and user experience and introduced responsive screen scaling to the website (Sharke, 2017). The top navigation bar was simplified and the logo was scaled down, so as to convey a more minimal and clean aesthetic, which is less overwhelming for the user (Sharke, 2017). In addition movement and rhythm were introduced through the rotating banner underneath the navigation. The colour palette was simplified from white, black and grey to white and black (Sharke, 2017).

MoMA Store Landing Page, 2017

MoMA Store Landing Page Proposal, 2017

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Growth of Digital Materials 2019 MoMA Now Motivated by its own expanding campaigns spotlighting a seasonally driven exhibition roster, the Museum employed Order to develop a new expandable and flexible visual communication’s framework (Order, 2020). Order understood that a trully golbalized brand with a strong digital presence needs a visual identity on the side lines of constricting grids meant for print and focused on a high-powered display through an emphasis on colour, image, type and motion (Order, 2020). This motion on screen mimicks interactive smart phone and tablet design, as the assets are designed to perpetually rotate and swipe both upwards and to the left imitating our own hand movements with smart devices (Order, 2020).

The website was designed with the exclusive use of MoMA Sans designed by Christian Shwartz, with the typeface’s bold weight predominantly featured on the updated webpage design (Order, 2020). Colourblocking with the use of a custom designed colour palette dominates the web page, re-positioning MoMA as a leader in contemporary digital design (Order, 2020).

These established digital guidelines act as an accessible source for a standardized implementation of the system by all employees, including partners, sponsors, and vendors (Order, 2020).

MoMA Landing Page, 2020

MoMA Mobile Landing Page, 2020

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Growth of Digital Materials 2019 MoMA Now

MoMA Plan Your Visit Page, 2021

MoMA What’s On Page, 2021

MoMA Store Landing Page, 2021

MoMA Art and Artists Page, 2021

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Typeset Options Franklin Gothic

Typeface Family

The main typeface family I chose for the proposed book on MoMA is Franklin Gothic. I chose this typeface due to its closely tied history with the institution and the brand, as well as the fact that it is an iconic American sans-serif typeface with character and impact, which are both qualities that MoMA embodies. It comes in an extensive selection of weights and postures for added flexibility and readability given when giving hierarchy to information.

Franklin Gothic Light Franklin Gothic Light Italic Franklin Gothic Book Franklin Gothic Book Italic Franklin Gothic Medium Franklin Gothic Medium Italic Franklin Gothic Demi Franklin Gothic Demi Italic Franklin Gothic Heavy Franklin Gothic Heavy Italic Franklin Gothic Compressed Book Franklin Gothic Compressed Book Italic Franklin Gothic Compressed Demi Franklin Gothic Compressed Demi Italic Franklin Gothic Condensed Book Franklin Gothic Condensed Book Italic Franklin Gothic Condensed Medium Franklin Gothic Condensed Medium italic Franklin Gothic Condensed Demi Franklin Gothic Condensed Demi Italic Franklin Gothic Extended Compressed Book Franklin Gothic Extended Compressed Demi

Franklin Gothic has a history of being applied in a wide span of media from magaznes to street banners to digital display (Typography Fandom, n.d.). It’s boldness lends itself well for headlines and has a classic newspaper appeal, however, it’s also easy on the eyes in short blocks of text copy. The typeface is well suited for digital contexts, and contributes personality and boldness to any assets it is paired with (Typography Fandom, n.d.).

Invented at the beginning of the 20th century by Morris Fuller Benton, Franklin Gothic is attributed to the American Type Founders or ATF type foundry (Typography Fandom, n.d.). It is a large and significant sans-serif typeface designed in the grotesque style (Typography Fandom, n.d.). The term “Gothic” was a contemporary term in the early 20th century denoting a sans-serif typeface and the typeface was named after the prolific American printer, Benjamin Franklin (Typedia, n.d.).

In 1980 Victor Caruso, reconfigured Franklin Gothic to incorporate several weights for the International Typeface Corporation (ITC) type foundry, resulting in ITC Franklin Gothic (Typedia, 2011). ITC Franklin Gothic was reconfigured to have a slightly higher X-height than the original typeface, which improved its legibility and readability. Caruso also tightened the spacing on the lower case alphabet (Typedia, 2011). This redesign allowed the typeface to be used used to set type from tiny 6-point text to billboard-size letters (Typedia, 2011). The typeface has moderate ascender and descender height providing for compactness, legibility and readability (Typedia, 2011).

Franklin Gothic is recognizable within the space of sans fonts due to it traditional double story lower case g and a, as well as the tail of the upper case Q which curls down from the bottom centre (Typedia, 2011). Capitals appear broad with some characterized by a distinct stroke weight contrast visible on the left side stroke of the A and M being slightly thinner than those on the right side of the characters (Typedia, 2011).

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Typeset Options Garamond

Typeface Family

I chose Garamond as one of the typefaces in the proposed book’s typeset, in order to create versatility and contrast through a serif typeface, which is somewhat a departure as far as MoMA’s post 2010 visual identity goes. I was motivated to choose Garamond specifically due to it’s legibility and elegance, without too much “fluff”. Another interesting fact contributing to my choice, was that one of the people credited for Garamond’s modern day revival is Morris Fuller Benton, the creator of Franklin Gothic (Fonts, n.d.).

Garamond Light Garamond Light Italic Garamond Regular Garamond Italic Garamond SemiBold Garamond SemiBold Italic Garamond Bold Garamond Bold Italic

The typeface possesses clear stroke contrast and capital letters were modelled on the Roman square capitals (Fonts, n.d.). Garamond’s x-height is lower, especially at larger sizes, which prompts the capitals to appear larger in comparison to the lower case alphabet (Fonts, n.d.).

Most ascenders reach above the height of capital letters, increasing the typeface’s legibility and readability in body copy (Fonts, n.d.). Its descenders are relatively short, providing for an opportunity to tightly pack more characters in a singular line (Fonts, n.d.).

The Parisian printer Claude Garamond is credited for developing Garamond during the French Renaissance in the 16th century (Meaningful Type, 2014). The typeface was created for the French court, mimicking the king’s librarian’s penmanship (Meaningful Type, 2014). Robert Granjon, became Garamond’s aide and the majority of the modern versions of Garamond base their italic type forms on Granjon’s writing (Meaningful Type, 2014). Six decades from Claude Garamond’s passing, Jean Jannon, created a Garamond-like typeface (Meaningful Type, 2014). After its discovery by the French government, the Royal Printing Office made Jannon’s version the official typeface of the institution (Meaningful Type, 2014). In 1825, the French national Printing Office declared the typeface was Garamond’s (Fonts, n.d.).

Apart from being a very flexible and multifaceted typeface, Garamond is also one of the most ecologically conservative fonts as it uses significantly less ink during printing, compared to other serif typefaces (Fonts, n.d.) . The Garamond font family has been applied in a variety of contemporary contexts, including in the development of the Google logo, Dr. Seuss and Harry Potter books (Fonts, n.d.).

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Typeset Options DIN

Typeface Family

I chose DIN as on one of the typefaces for the MoMA book due to its history with the Museum. Not only was DIN used by MoMA as a supporting typeface in print and digital from the late 90s to the late 2000s, but in 2011, the Museum added it to its permanent collection its first digital typefaces and it was one of just 23 designs to be included (MoMA, n.d.). FF DIN debuted at MoMA as part of the “Standard Deviations” installation in the contemporary design gallery (MoMA, n.d.).

Din Thin Din Thin Italic Din XLight Din XLight Italic Din Light Din Light Italic Din Regular Din Regular Italic Din Medium Din Medium Italic Din Demi Din Demi Italic Din Bold Din Bold Italic Din Black Din Black Italic

DIN (short of Deutsche Institut fur Normung) is a modernist, san-serif typeface with geometric and industrial qualities (Oliver, 2011). The typeface is overall condensed and tall (Oliver, 2011). The typeface possesses modernist characteristics such as sharp straight lines contrasted with gentle curves, squared off edges and streamlined appearance (Oliver, 2011). DIN features both lower, upper and numerical cases which all adhere to a very strict, equally proportioned x-height, base, ascender and descender lines (Oliver, 2011). The counters used are generally elliptical in shape, with the exception in upper-case, which also features sharper shapes (Oliver, 2011).

The DIN typeface was first released in 1923 by the D Stempel AG foundry, and was originally based on the 1905 typeface for the Royal Prussian Railway Administration (Idsgn, 2009). This version, as well as another version released by the Berthold foundry, were most commonly used for schematics, blueprints and technical drawings (Idsgn, 2009). In 1936 the German Standard Committee selected DIN 1451 as the standard typeface for use in areas of engineering, technology, traffic, administration and business due to its legibility and ease of writing. (Idsgn, 2009).

Through the exposure DIN received within the public space, designers and artists felt more inclined to adopt the typeface and integrate it into advertising, branding and design (Oliver, 2011). The typeface is even credited for inspiring the Bauhaus logo and typeface (Oliver, 2011). Currently, DIN can be seen on products and advertisements for brands like Adidas to London Design Festival, Wolf of Wall Street and even video games (Oliver, 2011).

22

References Baird, R. (2020, August 03). New brand identity for MoMA by order

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bpando.org/2020/01/02/moma-by-order/ Baird, R. (2020, August 03). MoMA Logos, Brand Palette,

MoMA Sans Bold (photographs). BP&O Blog Retrieved from

https://bpando.org/2020/01/02/moma-by-order/ Baird, R. (2020, August 03). MoMA PS1 Branding Applications on

Street Mural, MoMA Branding Applications on Street Light

Post Bannera (photographs). BP&O Blog. Retrieved

from https://bpando.org/2020/01/02/moma-by-order/ Blum, A. (2003, September 21). The modern’s other renova

tion. Retrieved February 06, 2021, from https://www.nytimes.

com/2003/09/21/arts/art-the-modern-s-other-renovation.html Bruce Mau Design. (2003). Moma: From urban to contemplative

sound. Retrieved February 06, 2021, from https://www.

brucemaudesign.com/work/moma

and the Web 2009: PROCEEDINGS (1182251744 885099043 C. Sexton, Trans.). Retrieved February 06, 2021, from https://www.museumsandtheweb.com/mw2009/ papers/burnette/burnette.html

Burnette, A., Champagne, J., Mitroff Silvers, D., Sexton, C. (2009,

April 18). MoMA Landing Page, 2009 (photograph). Retrieved

February 06, 2021, from https://www.museumsandtheweb.com/

mw2009/papers/burnette/burnette.html Commercial Type. (2017, June 2). MoMA sans for the Museum

of modern art. Retrieved February 06, 2021, from https://

commercialtype.com/news/moma_sans_for_the_mu

seum_of_modern_art#:~:text=MoMA%20Gothic%20

was%20supported%20by,News%20Gothic%2C%20

and%20Trade%20Gothic.

Eskilson, S. (2019). Graphic design: A new history. New Haven, CT:

Yale University Press.

Burnette, A., & Spann, L. (2006, March 27). Archives & amp;

MUSEUM Informatics: Museums and the Web 2006.

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com/mw2006/papers/burnette/burnette.html

Fonts. (n.d.). Adobe garamond™ font FAMILY Typeface Story. Retrieved

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be-garamond/story#:~:text=Foundry&text=The%20

Adobe%20Garamond%E2%84%A2%20font,of%20Gara

mond’s%20assistant%2C%20Robert%20Granjon.

Burnette, A., & Spann, L. (2006, March 27). MoMA.org landing page, 2006

(photograph). Archimuse Blog.Retrieved February 06, 2021, from

https://www.archimuse.com/mw2006/papers/burnette.html

For Office Use Only. (2009). MoMA Exhibitions web page, 2009 (photo

graph). Project - MoMA. Retrieved from https://forofficeuseonly.

com/projects/moma/

Burnette, A., & Spann, L. (2006, March 27). MoMA Store landing

page, 2006 (photograph). Archimuse Blog.Retrieved February 06,

2021, from https://www.archimuse.com/mw2006/papers/burnette/ burnette.html

For Office Use Only. (2009). MoMA Collections web page, 2009 (photo

graph). Project - MoMA. Retrieved from https://forofficeuseonly.

com/projects/moma/

Burnette, A., Champagne, J., Mitroff Silvers, D., Sexton, C. (2009,

April 18). Archives & MUSEUM Informatics: Museums

Graphéine. (2019, August 06). Who is THE PoPA of the MOMA

LOGO? Thoughts about contemporary branding - .

Retrieved February 05, 2021, from https://www.gra

23

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pheine.com/en/graphic-design-en/who-is-the-popa- of-moma-logo-thoughts-on-contemporary-branding Graphéine. (2019, August 06). Alfred H. Barr and the MoMA Logo

(photograph). Retrieved from https://www.grapheine.com/

en/graphic-design-en/who-is-the-popa-of-moma-lo go-thoughts-on-contemporary-brandingiei Graphéine. (2019, August 06). Ivan Chermayeff & Tom Geismar

and The Museum of Modern Art Logo (photograph).

Retrieved from https://www.grapheine.com/en/graphic-de

sign-en/who-is-the-popa-of-moma-logo-thoughts-on- contemporary-branding Graphéine. (2019, August 06). Matthew Carter and the MoMA Logo

(photograph). Retrieved from https://www.grapheine.com/

en/graphic-design-en/who-is-the-popa-of-moma-lo go-thoughts-on-contemporary-branding Graphéine. (2019, August 06). Morris Fuller Benton and Frankling

Gothic No.2 Typeface (photograph). Retrieved from https://

www.grapheine.com/en/graphic-design-en/who-is-the-po pa-of-moma-logo-thoughts-on-contemporary-branding Graphéine. (2019, August 06). Christian Shwartz and the MoMA

Logo in MoMA Sans (photograph). Retrieved from https://

www.grapheine.com/en/graphic-design-en/who-is-the-po pa-of-moma-logo-thoughts-on-contemporary-branding Hoffmann, J. (2013, April 8). MoMA: One Typeface fits all at MoMA.

Retrieved February 06, 2021, from https://www.moma.org/

explore/inside_out/2013/04/08/one-typeface-fits-all-

at-moma/ Hurstley, T. (2013). MoMA Urban Landscape (photograph). The New

York Times. Retrieved from https://www.newyorker. com/culture/culture-desk/the-once-and-future-moma

Identifont. (n.d.). Differences - Helvetica Neue & ITC Franklin

Gothic. Retrieved February 06, 2021, from http://www.

identifont.com/differences?first=Helvetica%2B

Neue&second=ITC%2BFranklin%2BGothic Idsgn. (2009, April 8). Know Your Type - DIN. Retrieved February 07,

2021, from http://idsgn.org/posts/know-your-type-din/ Inside Out. (2010, March 5). MoMA: Moma.org TURNS 1...and

15. MoMA.org Landing Page, 1997 (photograph). Retrieved

from https://www.moma.org/explore/inside_out/2010/03/05/

moma-org-turns-1-and-15/ Inside Out. (2010, March 5). MoMA: Moma.org TURNS 1...and 15.

MoMA.org Landing Page, 2002 (photograph). Retrieved

from https://www.moma.org/explore/inside_out/2010/03/05/moma-

org-turns-1-and-15/ Inside Out. (2010, March 5). MoMA: Moma.org TURNS 1...and 15.

MoMA.org Landing Page, 2001 (photograph).Retrieved

from https://www.moma.org/explore/inside_out/2010/03/05/moma-

org-turns-1-and-15/ Meaningful Type. (2014). Garamond. Retrieved February 07, 2021, from

http://www.meaningfultype.com/garamond.html MoMA. (n.d.). Barbara Rose: Form & Spectacle. Retrieved

February 06, 2021, from https://www.moma.org/interactives/

exhibitions/2016/spelunker/constituents/10172/ MoMA. (n.d.). Barbara Rose: Claes Oldenburg book for The Mu

seum of Modern Art, New York, 1970 (photograph).

Retrieved from https://www.moma.org/interactives/

exhibitions/2016/spelunker/constituents/10172/ MoMA. (n.d.). Model of The Museum of Modern Art. From left: the

west wing and tower (1984), architect César Pelli &

24

References

Associates; center building (1939), architects Philip L. Goodwin and Edward D. Stone; east wing (1964), architect Philip Johnson (photograph).

Retrieved from https://www.MoMA.org

MoMA. (2021). MoMA.org Landing Page, Art and Artists Page, Plan Your

Visit Page (photograph). Retrieved from https://www.MoMA.org MoMA. (2021). MoMA Store Landing Page (photograph). Retrieved from

https://www.MoMA.org Order. (2020). Moma. Retrieved February 06, 2021, from https://or

der.design/project/moma Order. (2020). MoMA Landing Page, 2020 (photograph). Retrieved Febru

ary 06, 2021, from https://order.design/project/moma Order. (2020). MoMA Mobile Landing Page, 2020 (photograph). Retrieved

February 06, 2021, from https://order.design/project/moma Pentagram. (2011). MoMA - Brand Identity Story. Retrieved Febru

ary 06, 2021, from https://www.pentagram.com/work/moma/ story Pentagram. (2011). MoMA Exhibition Poster and MoMA Street Sig

nage (photographs). Retrieved from https://www.

pentagram.com/work/moma/story Pentagram. (2011). Paula Scher and the MoMA Poster Grid, MoMA

Exhibition Poster Mockups (photographs). Retrieved from

https://www.pentagram.com/work/moma/story Persons, S. (2015). MoMA: Moma.org TURNS 20: Archiving two de

cades of Exhibition Sites. Retrieved February 06, 2021, from

https://www.moma.org/explore/inside_out/2015/05/25/mo

ma-org-turns-20-archiving-two-decades-of-exhibition-sites/ Persons, S. (2015). Mutant Materials MoMA exhibition, 1995 (photo

graph). Inside Out: MoMA Blog. Retrieved from https://www. moma.org/explore/inside_out/2015/05/25/moma-org-turns- 20-archiving-two-decades-of-exhibition-sites/

Persons, S. (2015). Kiki Smith: Prints, Books, & Things MoMA exhi

bition, 2003 (photograph). Retrieved from https://

www.moma.org/explore/inside_out/2015/05/25/moma-org-

turns-20-archiving-two-decades-of-exhibition-sites/ Ruderman, I. (2017, August 1). Evolution, not revolution! Retrieved

February 06, 2021, from https://type.today/en/journal/

moma_sans Shrake, E. (2017, February 27). MoMA store: E-commerce &

responsive design. Retrieved February 06, 2021, from

https://medium.com/@eddie.shrake/moma-store-e-com merce-responsive-design-dead4525c2ab Shrake, E. (2017, February 27). MoMA Store Landing Page Proposal, 2017

(photograph). Retrieved February 06, 2021, from https://medium.

com/@eddie.shrake/moma-store-e-com merce-responsive-de sign-dead4525c2ab Shrake, E. (2017, February 27). MoMA Store Landing Page, 2017

(photograph). Retrieved February 06, 2021, from https://medium.

com/@eddie.shrake/moma-store-e-com merce-responsive-de sign-dead4525c2ab The Museum of modern art history: Moma. (n.d.). Retrieved Febru

ary 05, 2021, from https://www.moma.org/about/who-we-

are/moma-history Typedia. (2011, April 6). ITC Franklin Gothic. Retrieved February 07, 2021,

from http://typedia.com/explore/typeface/itc-franklin-gothic/ Typography Fandom. (n.d.). Franklin Gothic. Retrieved February 07, 2021,

from https://typography.fandom.com/wiki/Franklin_Gothic

25

References Oliver. (2011, July 23). FF Din Critique. Retrieved February 07, 2021, from

http://advtype2011s2.blogspot.com/2011/07/ff-din-critique.html Web Archive. (2017). MoMA Landing Page, 2017 (photograph).

Retrieved February 07, 2021, from https://web.archive.

org/web/20180729143939/https://www.moma.org/ Web Archive. (2017). MoMA Plan Your Visit Page, 2017 (photograph).

Retrieved February 07, 2021, from https://web.archive.

org/web/20180729143939/https://www.moma.org/ Web Archive. (2017).. MoMA Art and artists Page, 2017 (photograph).

Retrieved February 07, 2021, from https://web.archive.

org/web/20180729143939/https://www.moma.org/ You Work For Them. (2020, April 1). A Brief History Of Franklin

Gothic. Retrieved February 06, 2021, from https://

blog.youwork forthem.com/2020/04/01/history-franklin-goth

ic/

26

LOREM IPSUM

Ibus, Catidem, cure ad iam hos bonsul con te morae contro eo, quidientia

11’’ x 14’’

MAIN TITLE Franklin Gothic Heavy 115pt / 95 leading

DECK Franklin Gothic Demi 24 pt / 26 leading

FURBIS HORUM NOXIMPO NSILLAREI FITIA IAM INCERIO, C. IVERNIHIL HORTIAM IAM MURO INTESI POS AN SILLATIAM IAM, NONDUCI VENTEM ILIUS, QUE HOCCHUM NORE CONSIMI UROPOTE SSIGNAM TEMUS INIQUAM ROMNEMQ

SUBHEADS Franklin Gothic Demi Italic 11.5 pt / 13.5 leading

Furbis horum noximpo nsillarei fitia iam incerio, C. Ivernihil hortiam iam muro intesi pos An sillatiam iam, nonduci ventem ilius, que hocchum nore consimi uropote ssignam temus iniquam Romnemq

QUESTIONS #1 Garamond Bold 12.5 pt / 14 leading

FURBIS HORUM NOXIMPO NSILLAREI FITIA IAM INCERIO, C. IVERNIHIL HORTIAM IAM MURO INTESI POS AN SILLATIAM IAM, NONDUCI VENTEM ILIUS, QUE HOCCHUM NORE CONSIMI UROPOTE SSIGNAM TEMUS INIQUAM ROMNEMQ

QUESTIONS #2 Franklin Gothic Condensed Medium 11.5 pt / 13.5 leading

Nam eos suntibusda aut odia sapit, aperend ebitia que adios qui blabori onsequisquam exceped modis imaximus nosae pro dolor aruptam es dest perorum reperisi aceati im eos qui aut fuga. Et alibus audipist apel imus sapedit, consequ osanimi, soluptae volum nes audam, ium id magnamendus, aliquid et latur, sequiat hilitin ctureicim ut quisim quid quos molupid ucilluptusam quam ut landa nectiatur?

BODY COPY 1 Franklin Gothic Book 11.5 pt / 13.5 leading

Nam eos suntibusda aut odia sapit, aperend ebitia que adios qui blabori onsequisquam exceped modis imaximus nosae pro dolor aruptam es dest perorum reperisi aceati im eos qui aut fuga. Et alibus audipist apel imus sapedit, consequ osanimi, soluptae volum nes audam, ium id magnamendus, aliquid et latur, sequiat hilitin ctureicim ut quisim quid quos molupid ucilluptusam quam ut landa nectiatur?

BODY COPY 2 Garamond Regular 12.5 pt / 14 leading

“ABOR MA SUM QUE NOBIS INULPA NESTIAE” PULL QUOTES Franklin Gothic Demi 54 pt /48 leading

Ita se hui sena, nost pon sici sed re peressente veroractus confin novercerum opublis hocumus.

Nam pliuspim atum di tanum te fuem et patum

p. 23

Itam iam mente nos interfiris

N

am eos suntibusda aut odia sapit, aperend ebitia que adios

GUTTER CREDITS Franklin Gothic Light 7 pt / 9 leading CAPTIONS DIN Medium 8 pt / 10 leading PAGE NUMBERS DIN XLight 10 pt / 12 leading SLUGS Franklin Gothic Medium Italic 10 pt / 12 leading DROP CAPS Franklin Gothic Book 11.5/13.5/size 4/space 1

LOREM IPSUM

SET #1

MAIN TITLE Franklin Gothic Heavy 115pt / 95 leading

FURBIS HORUM NOXIMPO NSILLAREI FITIA IAM INCERIO, C. IVERNIHIL HORTIAM IAM MURO INTESI POS AN SILLATIAM IAM, NONDUCI VENTEM ILIUS, QUE HOCCHUM NORE CONSIMI UROPOTE SSIGNAM TEMUS INIQUAM ROMNEMQ

DECK Franklin Gothic Demi Italic 20 pt / 22 leading SUBHEADS Franklin Gothic Condensed Demi 12 pt / 14 leading

Furbis horum noximpo nsillarei fitia iam incerio, C. Ivernihil hortiam iam muro intesi pos An sillatiam iam, nonduci ventem ilius, que hocchum nore consimi uropote ssignam temus iniquam Romnemq

QUESTIONS Garamond Bold 12 pt / 14 leading

Ibus, Catidem, cure ad iam hos bonsul con te morae contro eo, quidientia

Nam eos suntibusda aut odia sapit, aperend ebitia que adios qui blabori onsequisquam exceped modis imaximus nosae pro dolor aruptam es dest perorum reperisi aceati im eos qui aut fuga. Et alibus audipist apel imus sapedit, consequ osanimi, soluptae volum nes audam, ium id magnamendus, aliquid et latur, sequiat hilitin ctureicim ut quisim quid quos molupid ucilluptusam quam ut landa nectiatur?

Nam eos suntibusda aut odia sapit, aperend ebitia que adios qui blabori onsequisquam exceped modis imaximus nosae pro dolor aruptam es dest perorum reperisi aceati im eos qui aut fuga. Et alibus audipist apel imus sapedit, consequ osanimi, soluptae volum nes audam, ium id magnamendus, aliquid et latur, sequiat hilitin ctureicim ut quisim quid quos molupid ucilluptusam quam ut landa nectiatur?

“ABOR MA SUM QUE NOBIS INULPA NESTIAE” PULL QUOTES Franklin Gothic Demi 54 pt /50 leading

Ita se hui sena, nost pon sici sed re peressente veroractus confin novercerum opublis hocumus.

Nam pliuspim atum di tanum te fuem et patum

p. 23

Itam iam mente nos interfiris

N

am eos suntibusda aut odia sapit, aperend ebitia que adios qui

BODY COPY 1 Franklin Gothic Book 11.5 pt / 13.5 leading

BODY COPY 2 Garamond Regular 12 pt / 14 leading

GUTTER CREDITS Franklin Gothic Light 6.5 pt / 8.5 leading CAPTIONS DIN Medium 8 pt / 10 leading PAGE NUMBERS DIN Demi 10 pt / 12 leading SLUGS Franklin Gothic Medium 10 pt / 12 leading DROP CAPS Franklin Gothic Medium 11.5/13.5/size 3/space 1

LOREM IPSUM

SET #2

MAIN TITLE Franklin Gothic Condensed Demi 125pt / 95 leading

Ibus, Catidem, cure ad iam hos bonsul con te morae contro eo, quidientia

DECK Franklin Gothic Compressed Demi 30 pt / 27 leading

Furbis horum noximpo nsillarei fitia iam incerio, C. Ivernihil hortiam iam muro intesi pos An sillatiam iam, nonduci ventem ilius, que hocchum nore consimi uropote ssignam temus iniquam Romnemq

SUBHEADS Garamond Bold 12 pt / 13 leading

FURBIS HORUM NOXIMPO NSILLAREI FITIA IAM INCERIO, C. IVERNIHIL HORTIAM IAM MURO INTESI POS AN SILLATIAM IAM, NONDUCI VENTEM ILIUS, QUE HOCCHUM

QUESTIONS Franklin Gothic Medium 11 pt / 13 leading

Nam eos suntibusda aut odia sapit, aperend ebitia que adios qui blabori onsequisquam exceped modis imaximus nosae pro dolor aruptam es dest perorum reperisi aceati im eos qui aut fuga. Et alibus audipist apel imus sapedit, consequ osanimi, soluptae volum nes audam, ium id magnamendus, aliquid et latur, sequiat hilitin ctureicim ut quisim quid quos molupid ucilluptusam quam ut landa nectiatur?

Nam eos suntibusda aut odia sapit, aperend ebitia que adios qui blabori onsequisquam exceped modis imaximus nosae pro dolor aruptam es dest perorum reperisi aceati im eos qui aut fuga. Et alibus audipist apel imus sapedit, consequ osanimi, soluptae volum nes audam, ium id magnamendus, aliquid et latur, sequiat hilitin ctureicim ut quisim quid quos molupid ucilluptusam quam ut landa nectiatur?

“ABOR MA SUM QUE NOBIS INULPA NESTIAE” PULL QUOTES Franklin Gothic Heavy 52 pt /42 leading

Ita se hui sena, nost pon sici sed re peressente veroractus confin novercerum opublis hocumus.

Nam pliuspim atum di tanum te fuem et patum

p. 23

Itam iam mente nos interfiris

N

am eos suntibusda aut odia sapit, aperend ebitia que adios

BODY COPY 1 Franklin Gothic Book 11 pt / 13 leading

BODY COPY 2 Garamond Regular 12 pt / 13 leading

GUTTER CREDITS Franklin Gothic Light 7 pt / 9 leading CAPTIONS DIN Medium 8 pt / 10 leading PAGE NUMBERS Franklin Gothic Light 10 pt / 12 leading SLUGS Franklin Gothic Medium 11 pt / 13 leading DROP CAPS Franklin Gothic Book 11/13/size 3/space 1

SET #3

LOREM IPSUM

Ibus, Catidem, cure ad iam hos bonsul con te morae contro eo, quidientia

MAIN TITLE Franklin Gothic Heavy 97pt / 81 leading

DECK Franklin Gothic Demi 24 pt / 26 leading

FURBIS HORUM NOXIMPO NSILLAREI FITIA IAM INCERIO, C. IVERNIHIL HORTIAM IAM MURO INTESI POS AN SILLATIAM IAM, NONDUCI VENTEM ILIUS, QUE HOCCHUM NORE CONSIMI UROPOTE SSIGNAM TEMUS INIQUAM

SUBHEADS Franklin Gothic Condensed Demi 11.5 pt / 13.5 leading

Furbis horum noximpo nsillarei fitia iam incerio, C. Ivernihil hortiam iam muro intesi pos An sillatiam iam, nonduci ventem ilius, que hocchum nore consimi uropote ssignam temus iniquam

QUESTIONS Garamond Bold 12.5 pt / 14 leading

Nam eos suntibusda aut odia sapit, aperend ebitia que adios qui blabori onsequisquam exceped modis imaximus nosae pro dolor aruptam es dest perorum reperisi aceati im eos qui aut fuga. Et alibus audipist apel imus sapedit, consequ osanimi, soluptae volum nes audam, ium id magnamendus, aliquid et latur, sequiat hilitin ctureicim ut quisim quid quos molupid ucilluptusam quam ut landa nectiatur?

BODY COPY 1 Franklin Gothic Book 11.5 pt /13.5 leading

Nam eos suntibusda aut odia sapit, aperend ebitia que adios qui blabori onsequisquam exceped modis imaximus nosae pro dolor aruptam es dest perorum reperisi aceati im eos qui aut fuga. Et alibus audipist apel imus sapedit, consequ osanimi, soluptae volum nes audam, ium id magnamendus, aliquid et latur, sequiat hilitin ctureicim ut quisim quid quos molupid ucilluptusam quam ut landa nectiatur?

BODY COPY 2 Garamond Regular 12.5 pt / 14 leading

“ABOR MA SUM QUE NOBIS” PULL QUOTES Franklin Gothic Condensed Demi 64 pt /55 leading

Ita se hui sena, nost pon sici sed re peressente veroractus confin novercerum opublis hocumus.

Nam pliuspim atum di tanum te fuem et patum

p. 23

Itam iam mente nos interfiris

N

am eos suntibusda aut odia sapit, aperend ebitia que adios qui

GUTTER CREDITS Franklin Gothic Light 7 pt / 9 leading CAPTIONS DIN Medium 8 pt / 10 leading PAGE NUMBERS DIN XLight 11 pt / 12 leading SLUGS Franklin Gothic Medium Italic 12 pt / 14 leading DROP CAPS Franklin Gothic Medium 11.5/13.5/size 4/space 1