twenty-six families A specimen book of typographic design In this book, youâ€™ll find samples of type from established designers and foundries. The styles are as varied as the designers who created them from an Adobe text face to Bickham Script, from an Art Deco sans to Goudy Oldstyle. These twenty six type families have been selected for use by typography students at Northwest College in 2012.
Fmily: Avenir LT STD Format: OpenType, PostScript Designer: Adrian Frutiger Design Date: 1988 Foundry: Linotype The design is based on two earlier sans serif typefaces, Erbar and Futura. Avenir is unusual in that it has weights that are similar, but each is designed for a different purpose. For example, the Light and Book weights are similar, but Book is most appropriate for text blocks while the Light is better for adding a contrasting element (perhaps a heading) to a heavier weight. These weight selections also allow for optimal results under varied printing conditions.
Family: Bickham Script Pro Format: OpenType, PostScript Designer: Richard Lipton Design Date: 1997 Foundry: Adobe Systems Incorporated Richard Liptonâ€™s Bickham Script is a flowing, formal script typeface based on the lettering of 18th century writing masters, as rendered in the unparalleled engravings of George Bickham. This ornate script lends a signature flourish to invitations, menus, annual reports, restaurant logos, and packaging. It is intended primarily for display.
Family: Cochin Format: OpenType, TrueType Designer: Georges Peignot Design Date: 1912 Foundry: Linotype Georges Peignot designed Cochin based on copper engravings of the 18th century and Charles Malin cut the typeface in 1912 for the Paris foundry Deberny & Peignot. The font is named after the French engraver Charles Nicolas Cochin (1715-1790) though its style had little to do with that of the copper artistâ€™s. The font displays a curious mix of style elements and could be placed as a part of the typographical Neorenaissance movement. Cochin is especially large and wide and was popular at the beginning of the twentieth century.
Family: Kepler STD Format: OpenType, PostScript Designer: Robert Slimbach Design Date: 1996 Foundry: Adobe Systems Incorporated Named after the German Renaissance astronomer, Kepler is a contemporary type family designed by Robert Slimbach in the tradition of classic modern 18th century typefaces. Modern typefaces are known for their cool intellectual quality, but Slimbachâ€™s Kepler multiple master captures the modern style in a humanistic manner. It is elegant and refined with a hint of Oldstyle proportion and calligraphic detailing that lends it warmth and energy.
Family: Futura Format: Postscript Type 1 Designer: Paul Renner Design Date: 1920 German typeface designer Paul Renner designed Futura in the mid1920’s. Its geometric shapes were inspired by the Bauhaus, the German arts & crafts school/movement. The font was commercially released in 1927 with additional weights added in the years after. Many foundries, including Adobe and URW, offer digital versions of Futura. Neufville claim to sell the most authentic version. Common Usage: Its distinct look and good readability make Futura a good headline font, but it is often also used for body text. Avenir, Avant Garde, Gill Sans and Kabel is good alternatives to Futura. Trivia: >In 1969 the Apollo 11 astronauts left a commemorative plaque on the moon. Its text was set in Futura. >Back in the ’90s, people got so sick of Futura Extra Bold Condensed that there was a movement called ‘Art Directors Against Futura Extra Bold Condensed’.
Family: Myriad Pro Format: Open Type, Postscript Designer: Robert Slimbach and Carol Twombly Design Date: 1991 Robert Slimbach and Carol Twombly designed Myriad for Adobe Systems in 1991. Originally it shipped as a Multiple Master font but in 2000 it was released as an OpenType font family, named Myriad Pro. Additional variants include Myriad Web which is optimized for onscreen use, various condensed and extended versions as well as two â€˜funâ€™ faces called Myriad Tilt and Myriad Sketch. Common Usage: Myriad is economic yet very legible, making it an ideal text face. Its distinct look also makes it a popular choice as a display font. Myriad is popular as a corporate font; Apple has been using it as such since 2001. Alternatives include Frutiger (which seems to have been its source of inspiration), Syntax and Humanist 77. Trivia: >You may already have Myriad Pro on your system, since Adobe bundled a few weights with its Creative Studio software package.
Family: Gill Sans STD Format: Open Type, Postscript Designer: Eric Gill Design Date: 1928-1930 Designed by Eric Gill and released by the Monotype Corporation between 1928 and 1930. Gill Sans is based on the typeface Edward Johnston, the innovative British letterer and teacher. Designed in 1916 for the signage of the London Underground, Gillâ€™s alphabet is more classical in proportion, and contains his signature flared capital R and eyeglass lowercase g. It contains distinct roots in pen-written letters. Common Usage: Gill Sans is classified as a humanist sans serif, making it very legible and readable in text and display work. The condensed, bold, and display versions are excellent for packaging or posters.
Family: DIN 1451 std Format: Mittelschrift, Open Type Postscript Designer: German Institute for Standardization Design Date: 1936 DIN stands for Deutsches Institut f端r Normung (German Institute for Standardization.) The DIN 1451 typeface was designed in 1936 for road and railway signage. It remained in use for German number plates until 2000. Linotype markets a digital version of the original font while AlbertJan Pool created a very versatile family of DIN typefaces (FF DIN) for Fontshop. FF DIN is more geared towards commercial applications. Common Usage: Even though the DIN typefaces are very legible and easy to reproduce, there is some discussion about their aesthetic qualities. One can use DIN for signage or any type of work in which one would need an industrial, slightly severe look. If needing something a bit more playful, try Officina Sans. Trivia: >DIN is used on the packaging of Half-life, a computer game.
Family: DIN 30640 std Format: OpenType, PostScript Designer: Wilhelm Pischner Design Date: 1990 Foundry: Linotype Design Studio The typeface had been designed by Wilhelm Pischner. Like other typefaces of the 1920s, DIN Neuzeit Grotesk reflects the philosophy of the times, Form is Function.
Goudy Old Style
Family: Goudy Oldstyle Std Format: OpenType, PostScript Designer: Frederic W. Goudy, Morris Fuller Benton Design date: 1915 Foundry: Adobe Systems Inc. Goudy is an old-style classic serif typeface originally created by Frederic W. Goudy for American Type Founders (ATF) in 1915. Suitable for both text and display applications, Goudy Old Style is a graceful, balanced design with a few eccentricities, including the upward-curved ear on the g and the diamond shape of the dots of the i, j, and the points found in the period, colon and exclamation point, and the sharply canted hyphen. The uppercase italic Q has a strong calligraphic quality. Generally classified as a Garalde (sometimes called Aldine) face, certain of its attributesâ€”most notably the gently curved, rounded serifs of certain glyphsâ€”suggest a Venetian influence. Goudy Old Style is considered to be among the most legible and readable serif typefaces for use in print (offline) applications.
Family: Adobe Jenson Pro Kind: OpenType, PostScript Designer: Robert Slimbach Design date: 1996 Foundry: Adobe Systems Inc. Adobe Jenson Pro captures the essence of Nicolas Jensonâ€™s roman and Ludovico degli Arrighiâ€™s italic typeface designs. The combined strength and beauty of these two icons of Renaissance type result in an elegant typeface suited to a broad spectrum of applications. Designed by Robert Slimbach of the Adobe type design team, Adobe Jenson Pro is part of the family of Adobe Originals historical revivals, including Adobe Garamond Pro and Adobe Caslon Pro. With its many OpenType features, extended language support and typographic refinement, Adobe Jenson Pro provides a power and flexibility for text composition rarely found in digital type.
Family: Bernhard Modern Std Format: OpenType, PostScript Designer: Lucian Bernhard Design date: 1937-1938 Foundry: Adobe Systems Incorporated. Originally cut in metal in 1937, Bernhard Modern seems to presage the demise of letterpress printing and the eventual rise of digital typography. Witness this comment on the typeface by its designer, Lucian Bernhard: â€œMy aim was to get all the spice and contrast into the contour ... without counting on the ink spread.â€? Lucian Bernhard was one of this centuryâ€™s eminent graphic designers, and Bernhard Modern is his enduring masterpiece of type design.
Family: Grotesque MT Std Format: OpenType, PostScript Designer: Unknown Design Date: 1926 Foundry: Monotype Typefaces without serifs were known in nineteenth-century England as Grotesque (or Grotesk in German) because they seemed so unusual to most readers. Monotype Grotesque is a straightforward 1926 design that is among the earliest sans serifs cut for hot-metal machine typesetting. Its simple, clean lines make it amenable for text use, and the condensed and extended versions are useful for shorter text and display use.
Family: Utopia Std Format: OpenType, PostScript Designer: Robert Slimbach Design date: 1989 Foundry: Adobe Systems Incorporated Utopia is an Adobe Originals text face designed by Robert Slimbach in 1989. It combines the vertical stress and pronounced stroke contrast of eighteenth-century Transitional types like Baskerville and Walbaum with contemporary innovations in character shapes and stroke details. Utopia has six weights with four optical sizes for each, plus a titling font, all of which combine to make a flexible family of types that is excellent for a range of applications from corporate communications and advertising to book and newspaper publishing.
ITC New Baskerville
Family: ITC New Baskerville Std Kind: OpenType, PostScript Designer: George W. Jones Design Date: 1930 Foundry: International Typeface Corporation British printer John Baskerville of Birmingham created the types that bear his name in about 1752. George Jones designed this version of Baskerville for Linotype-Hell in 1930, the International Typeface Corporation licensed it in 1982. An excellent text typeface, this Baskerville design has a delicacy and grace that come from long, elegant serifs and the subtle transfer of stroke weight from thick to very thin.The high-contrast, sparkly look of ITC New Baskerville is wellsuited to longer texts and display uses.
Family: Rosewood std Format: OpenType, PostScript Designer: Kim Bunker Chansler, Carl Crossgrove, Carol Twombly Design Date: 1993 Foundry: Adobe Systems Incorperated There were many typeface designs based on Clarendon letterforms seen in type catalogs from 1866 to 1875. Adobe’s Rosewood, released in 1994, is modeled after a chromatic design from William Page in 1874. (“Chromatic” or multicolored typefaces were first created by carefully registering and overprinting two or sometimes three versions of each letter in different colors to produce a flamboyant appearance). Rosewood’s Regular version is designed to overlay the Fill version for two-color printing.
Family: Futura std Format: TrueType Designer: Paul Renner Design Date: 1998 Foundry: Bauer Types S.A. Paul Renner (1878-1956) was a painter, typographer, typeface designer and teacher. In the early 1920s he began to support the modern styles of architecture and typography, becoming a leading proponent of the New Typography. Renner is best known for designing the typeface Futura, which became a standard tool for the New Typography, and remains a popular typeface today. Futura does give a restful, almost bland impression, which accords with Rennerâ€™s objectives. Futura seems classical, not only due to the form of its capitals, but also to the open, wide forms of the geometrical small letters. The typeface relies on notions of classical, yet contemporary form harmony and evenness of texture. Thanks to the modern digital technology Futura lives on in a greater variety than ever, offering a wide choice of typographic solutions for contemporary design in the new millennium.
Family: Adobe Caslon Pro Format: OpenType, PostScript Designer: Carol Twombloy Design Date: 1990 Foundry: Adobe Systems Incorporated The Caslon of Carol Twombly appeared with Adobe in 1990. It is an extensive font, including, next to the basic alphabet, alternates for some lower case letters, small caps, swash letter, expert fonts and ornaments. It is relatively true to the original Caslon, although this interpretation is better suited to longer texts. Adobe Caslon, with its ligatures, old style figures and swash letters, makes an elegant and classic impression.
Family: Bell Gothic Std Format: OpenType, PostScript Designer: Chauncey H. Griffith Design Date: 1938 Foundry: Adobe Systems Incorporated Bell Gothic is a realist sans-serif typeface designed by Chauncey H. Griffith in 1938 while heading the typographic development program at the Mergenthaler Linotype Company. The typeface was commissioned by AT&T as a proprietary typeface for use in telephone directories. Bell Gothic remained in uninterrupted use for AT&T telephone directories for forty years. Following AT&Tâ€™s adoption of Bell Centennial, the Mergenthaler Linotype foundry licensed Bell Gothic for general use. Beginning in the early 1990s Bell Gothic became popular and associated with avant garde experimentation with type at places like the Cranbrook Academy of Art, the Design Academy Eindhoven in the Netherlands, and RISD. The typeface was used as a display and caption face by Metropolis magazine, by Canadian graphic designer Bruce Mau in designing the initial ZONE book series, Dutch graphic designer Irma Boom, and has been widely used by Semiotext (e)Books, the MIT Press, and Dia Art Foundation.
Family: Arno Pro Format: OpenType, PostScript Designer: Robert Slimbach Design Date: 2007 Foundry: Adobe Systems Incorporated Arno Pro is a type family created by Robert Slimbach at Adobe. The name refers to the river that runs through Florence, the centre of the Italian Renaissance. The typeface draws its inspiration from 15th and 16th century early humanistic typefaces and is designed in the tradition of early book types such as Venetian and Aldine. The font family is a contemporary book type rooted in classical foundational forms. These forms being the calligraphically-inspired humanistic types of the Italian Renaissance. Because the traditional forms of text have had a rather conservative evolution the familiar handwriting practices remain embedded in the readerâ€™s mind. Robert Slimbach emphasize that it is crucial that designers of text typefaces work within its bounds. This applies equally to both classical styles and overtly modernist ones constructed entirely on a computer screen.
Family: Trajan Pro Format: OpenType, PostScript Designer: Carol Twombly Design Date: 2001 Foundry: Adobe Systems Incorporated Trajan Pro was created in 2001 as an updated version of the old style serif typeface Trajan, designed in 1989 by Carol Twombly for Adobe. The design is based on the letterforms of capitalis monumentalis or Roman square capitals, as used for the inscription at the base of Trajan’s Column from which the typeface takes its name. Although Twombly was the first to do a very literal translation of the Trajan inscription into type, a number of interpretations (with added lowercase alphabets) predate Twombly’s. There are also numerous prominent typefaces that are not revivals, but owe a very clear debt to the Trajan letterforms, most notably Hermann Zapf’s 1955 Optima.
Family: Helvetica LT Std Format: OpenType, PostScript Designer: Max Miedinger Design Date: 1957 Foundry: Adobe Systems Incorporated Helvetica is one of the most popular typefaces of all time. It was designed by Max Miedinger in 1957 for the Haas foundry of Switzerland (the name is derived from Helvetia, the Latin name for Switzerland). The design is based on the grotesques of the late nineteenth century, but new refinements put it in the sans serif sub-category of neo-grotesque. Shortly after its introduction, the Stempel foundry purchased the original Helvetica typeface and developed a full series of weights. In the 1960s Helvetica came to the United States, where alignment standards differed; Mergenthaler Linotype copied the Stempel series and then added several new versions of the design. Helvetica is an all-purpose type design that can deliver practically any message clearly and efficiently. The condensed and compressed Helvetica designs are excellent for display applications such as newspaper or newsletter headlines, billboards, and advertising.
Garamond Premier Pro
Family: Garamond Premier Pro Format: OpenType, PostScript Designer: Claude Garamond; Refined by Robert Slimbach Design Date: Mid 1500’s; 1989 Foundry: Adobe Systems Incorporated Garamond Premier Pro had its genesis in 1988 when Adobe senior type designer Robert Slimbach visited the Plantin-Moretus Museum in Antwerp, Belgium to study their collection of Claude Garamond’s metal punches and type designs. Garamond, a French punchcutter, produced a refined array of book types in the mid-1500s that combined an unprecedented degree of balance and elegance, and stand as a pinnacle of beauty and practicality in typefounding. While fine-tuning Adobe Garamond as a useful design suited to modern publishing, Slimbach started planning an entirely new interpretation of Garamond’s designs based on the large range of unique sizes he had seen at the Plantin-Moretus, and on the comparable italics cut by Robert Granjon, Garamond’s contemporary. By modeling Garamond Premier Pro on these hand-cut type sizes, Slimbach has retained the varied optical size characteristics and freshness of the original designs, while creating a practical 21st-century type family.
Family: Univers LT Std Format: OpenType, PostScript Designer: Adrian Frutiger Design Date: 1957 Foundry: Deberny & Peignot As a student in Zurich, Adrian Frutiger began work on Univers, which would eventually be released in 1957 by the Deberny & Peignot foundry in Paris. The design is a neo-grotesque, similar to its contemporary, Helvetica. With the release of Univers, Frutiger began using numbers rather than names to designate variations of weight, width, and slope. The full Univers family consists of twenty-one typefaces, and Frutiger has used this numerical system on other designs, including Serifa and Frutiger. Linotype also has adopted this numerical system for many other faces. All twenty-one Univers faces were designed to work together, so they can be mixed in a variety of ways. Their legibility lends itself to a large variety of applications, from text and headlines to packaging and signage.
ITC Officina Sans
Family: ITC Officina Sans Std Format: OpenType, PostScript Designer: Erik Spiekermann, Aaron Burns, Herb Lubalin and Ed Rondthaler Design Date: 1970 Foundry: MetaDesign To best extend the range of the ITC Officina family, Erik Spiekermann and his team at MetaDesign added a sans serif companion face in two weights. ITC Officina Sans (along with its serifed sister typeface) is a good choice for just about any typesetting that needs a bright, up-todate look.
Family: Trade Gothic LT Std Format: OpenType, Post Script Designer: Jackson Burke Design Date: 1948-1960 Foundry: Linotype Trade Gothic was designed by Jackson Burke between 1948 and 1960 for Linotype. In the nineteenth-century grotesque style, like News Gothic, Trade Gothic has a large x-height. Trade Gothic, with its condensed faces, is a classic design for newspaper work, particularly for headlines and classified advertising. The condensed versions increase the versatility of the typeface, particularly for setting headlines and subheads.
Family: Chaparral Pro Kind: OpenType, PostScript Designer: Carol Twombly Design date: 1997-2000 Foundry: Adobe Systems Inc. Created by Adobe type designer Carol Twombly, Chaparral combines the legibility of slab serif designs popularized in the 19th century with the grace of 16th-century roman book lettering. The result is a versatile, hybrid slab-serif design, a unique addition to the Adobe Originals family of typefaces. Unlike “geometric” slab serif designs, Chaparral has varying letter proportions that give it an accessible and friendly appearance in all weights from light to bold. Like the drought-resistant brush that blooms on the arid coastal range near Twombly’s California home, Chaparral’s highly functional design is surprisingly beautiful.
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designers: Cassie Capellen Landon Iacovetto Lane Johnson Devan Leo Erica Pina Serena Stapert Arie Wilder Professor: RenĂŠe Claire Tafoya Northwest College Graphics Program 2012