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Willy WONKA And tHE

TYPE FACTORY


Willy WONKA and tHE

TYPE FACTORY

Tiffany Hill St. Louis, Missouri


Copyright © 2013 Tiffany Hill All rights reserved. No part of this book may be reproduced without written consent from the publisher. Request for consent or further inquiry should be directed to the address below. First Printing: May 2013 Published in the United States University of Missouri – St. Louis Fine Arts Building 7701 Florissant Road Normandy, Missouri 63121 Printed in the usa


This book is for my family and, most of all, Brian for supporting me and encouraging me as I go through school. Also, to my design professors for teaching me everything I know.


table of contents Introduction xi Optima 1 itc

Benguiat Gothic  11

Didot 21 Gotham 31 Colophon 43


introduction With their being so many different typefaces available to use it is sometimes hard to choose the right ones. This book features four typefaces created by renowned type designers over the years. It is centered around the theme of Willy Wonka and the Chocolate Factory, which creates an amusing and entertaining way to learn. “Are you ready? Good! In you go.�


T OM P

I

A


optima Hermann Zapf

Optima is a humanist sans-serif with wide, full bodied characters, curves and straights which, vary in width. This typeface was designed by the highly praised type designer Hermann Zapf, a German typeface designer. This typeface includes both serif sans, and serif design. With this typeface, designs look very stylized and classy.


Hermann Zapf

Hermann Zapf was born in 1918 in Nuremberg, Germany. He joined the Karl Ulrich and Company printing firm, as an apprentice, in 1934. After this apprenticeship he worked with Paul Koch in Frankfurt. During this period he gained experience of working with hand press type and producing lettering for musical notation. However, his work was interrupted by the second world war and he worked as a cartographer in the German military. After the war Zapf worked at the Stempel AG type foundry as artistic director. In 1977 he was made Professor of Typographic Computer Programming at the Rochester Institute of Technology in New York and his fonts Optima, Palatino, Zapf Chancery, and Zapf Dingbats are now familiar designs found on all personal computers. Optima, Zapf’s personal favorite font, was selected for the engraved names on the Vietnam War Memorial.


Optima

W Q o g

Arial

It’s humanist meaning it has slightly higher contrast in its strokes.

The tail on Optima’s Q doesn’t break through the counter in the center.

Optima is centered on a vertical axis.

The lowercase g in Optima has a loop and is two stories. It also has an ear.

W Q o g

It’s lines are constant strokes throughout.

The tail on Arial’s Q does break through the counter in the center.

Arial is also centered on a vertical axis.

The lowercase g in Arial doesn’t have a loop and is only one story.


8 ⁄ 12 pt

Who can take a sunrise? Sprinkle it in dew, cover it in chocolate and a miracle or two? The candy man. The candy man can. The candy man can cause he mixes it with love and makes the world taste good.

10 ⁄ 14 pt

Who can take a sunrise? Sprinkle it in dew, cover it in chocolate and a miracle or two? The candy man. The candy man can. The candy man can cause he mixes it with love and makes the world taste good.

12 ⁄ 16 pt

Who can take a sunrise? Sprinkle it in dew, cover it in chocolate and a miracle or two? The candy man. The candy man can. The candy man can cause he mixes it with love and makes the world taste good.

14 ⁄ 20 pt

Who can take a sunrise? Sprinkle it in dew, cover it in chocolate and a miracle or two? The candy man. The candy man can. The candy man can cause he mixes it with love and makes the world taste good.


Optima LT Std

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ . ? ! , “ ” ‘ : ;% & @ ( ) [ ] { } $ ¢ £ ¥ € § © ® ™ 

Roman 9 pt

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ . ? ! , “ ” ‘ : ;% & @ ( ) [ ] { } $ ¢ £ ¥ € § © ® ™

Italic

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ . ? ! , “ ” ‘ : ;% & @ ( ) [ ] { } $ ¢ £ ¥ € § © ® ™

Medium

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ . ? ! , “ ” ‘ : ;% & @ ( ) [ ] { } $ ¢ £ ¥ € § © ® ™

Medium Italic


Optima LT Std 10pt Demi

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ . ? ! , “ ” : ;% & @ ( ) [ ] { } $ ¢ £ ¥ € § © ® ™

Demi Italic

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ . ? ! , “ ” : ;% & @ ( ) [ ] { } $ ¢ £ ¥ € § © ® ™

Bold

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ . ? ! , “ ” : ;% & @ ( ) [ ] { } $ ¢ £ ¥ € § © ® ™

Bold Italic

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ . ? ! , “ ” : ;% & @ ( ) [ ] { } $ ¢ £ ¥ € § © ® ™


80 pt Extra Black

75 pt Black

70 pt Bold

65 pt Demi

60 pt Medium

youthful

unique

eccentric

quirky

outlandish

unconventional OPTIMA LT STD

55 pt Roman


Optima LT Std 10pt Black

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ . ? ! , “ ” ‘ : ;% & @ ( ) [ ] { } $ ¢ £ ¥ € § © ® ™

Black Italic

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ . ? ! , “ ” ‘ : ;% & @ ( ) [ ] { } $ ¢ £ ¥ € § © ® ™

Extra Black

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ . ? ! , “ ” ‘ : ;% & @ ( ) [ ] { } $ ¢ £ ¥ € § © ® ™

Extra Black Italic

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ . ? ! , “ ” ‘ : ;% & @ ( ) [ ] { } $ ¢ £ ¥ € § © ® ™


Where in the world is Optima?


T C I A U N T B E G I

G

O

T H

I C


itc benguiat gothic Ed Benguiat

Following up on his earlier serif design, Ed Benguiat created itc Benguiat Gothic in 1979. This design uses the same basic form, or skeleton, of its predecessor Art Nouveau itc Benguiat, but has mono line stroke weights and rounded stroke endings in place of serifs. The two variations provide flexibility in a variety of display uses.


Ed Benguiat

Edward Benguiat in 1927 grew up in Brooklyn, New York, playing with his father’s drawing materials. Before the Second World War, he had a career as a jazz percussionist, and he picked this up again after serving with the Air Corp during the war. He decided used the GI bill to go to Workshop School of Advertising Art, training as an illustrator. After his studies, he changed tack, working as a graphic designer and art director. And he was a prolific typeface designer, with over 600 typefaces to his credit, including itc Tiffany, itc Bookman, itc Panache, and the eponymous itc Benguiat, as well as logotypes for well known The New York Times, Playboy, and Sports Illustrated. Benguiat also credited with playing an important role in the establishment of International Type Corporation. His work has won him acclaim, including a gold medal from the New York Type Directors Club and the prestigious Fredric W. Goudy Award. An avid pilot with his own personal plane, he taught at the School of Visual Arts in New York.


itc

Benguiat Gothic

H M a c

The crossbar on a the capital H is in the upper third of the stems.

The side stems of the M curve outward in the center.

The lower case a consist of two stories.

The bowl in the c is flat on the top where the hits the mean line.

B N g o

The junction is angled upperward at a 20 º angle into the top counter.

The diagonal stroke is placed in the upper section of the strokes.

The ear is on the lower case g is horizontal to the baseline.

Bengulat Gothic is also centered on a vertical axis. itc


I 8 ⁄ 12 pt

Oompa Loompa doompadee doo. I’ve got another puzzle for you. Oompa Loompa doompadee dee. If you are wise you will listen to me. Who do you blame when your kid is a brat, Pampered and spoiled like a Siamese cat?

10 ⁄ 14 pt

Oompa Loompa doompadee doo. I’ve got another puzzle for you. Oompa Loompa doompadee dee. If you are wise you will listen to me. Who do you blame when your kid is a brat, Pampered and spoiled like a Siamese cat?

12 ⁄ 16 pt

Oompa Loompa doompadee doo. I’ve got another puzzle for you. Oompa Loompa doompadee dee. If you are wise you will listen to me. Who do you blame when your kid is a brat, Pampered and spoiled like a Siamese cat?

14 ⁄ 20 pt

Oompa Loompa doompadee doo. I’ve got another puzzle for you. Oompa Loompa doompadee dee. If you are wise you will listen to me.

N


I WANT I

WANT IT

NOW!

I WANT IT

NOW! I WANT IT I WANT IT

NOW! OW!

ANT IT

NOW!

NOW! I WANT IT

I WANT IT


itc

Benguiat Gothic Std 10pt Book

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ . ? ! , “ ” ‘ : ;% & @ ( ) [ ] { } $ ¢ £ ¥ € § © ® ™

Book Oblique

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ . ? ! , “ ” ‘ : ;% & @ ( ) [ ] { } $ ¢ £ ¥ € § © ® ™

Medium

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ . ? ! , “ ” ‘ : ;% & @ ( ) [ ] { } $ ¢ £ ¥ € § © ® ™

Medium Oblique

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ . ? ! , “ ” ‘ : ;% & @ ( ) [ ] { } $ ¢ £ ¥ € § © ® ™


80 pt Extra Black

75 pt Black

70 pt Bold

65 pt Demi

Bratty selfish

privileged arrogant

ITC BENGUIAT GOTHIC STD


itc

Benguiat Gothic Std 10pt Bold

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ . ? ! , “ ” ‘ : ;% & @ ( ) [ ] { } $ ¢ £ ¥ € § © ® ™

Bold Oblique

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ . ? ! , “ ” ‘ : ;% & @ ( ) [ ] { } $ ¢ £ ¥ € § © ® ™

Heavy

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ . ? ! , “ ” ‘ : ;% & @ ( ) [ ] { } $ ¢ £ ¥ € § © ® ™

Heavy Oblique

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ . ? ! , “ ” ‘ : ;% & @ ( ) [ ] { } $ ¢ £ ¥ € § © ® ™


Where in the world is itc Benguiat Gothic Std?


O D D T I


didot Firmin Didot

The typeface family known as Didot was designed by Firmin Didot in Paris in 1783. The Didot types defined the characteristics of the modern (or Didone) roman type style, with their substantial stems flowing into extremely thin hairlines; the serifs are straight across with virtually no bracketing. Because of the very fine hairlines that are characteristic of modern romans, their use was somewhat restricted in metal types.


Firmin Didot

Firmin Didot was born 1764 in Paris, France and died in 1836 in Mesnil-sur-l’Estrée, France. He was a punch cutter, type founder, printer, publisher and author. He also studied classical languages. He cut his first typefaces in 1783 and reworks his father’s roman alphabets that same year. In 1797 he was granted a patent for his developments in the field of stereotype printing. His typefaces are used for his brother Pierre Didot’s “Editions du Louvre” series. Then in 1812 Didot was made director of the Imprimerie Impériale type foundry. In 1823 one of his tragedies was performed at the Théâtre de l’Odeon.


Didot

W A m x

Bodoni

The apex in the center comes together to form a point.

The strokes on all of Didot’s characters are hairline stroke such as in the capital A.

Didot’s serifs are hairline slab serifs.

Didot’s characters have a taller x-height then Bodoni.

W A m x

The apex in the center intersect halfway up the stroke causing a gap in the top of the apex.

The strokes on all of Bodoni’s characters are wider then the strokes in Didot.

Bondoni’s serifs are not as thin, they are slab serifs.

Bodoni’s characters have a smaller x-height then Didot.


8 ⁄ 12 pt

Oompa Loompa do-ba-da-dee. If you are wise you’ll listen to me. Gum chewing’s fine when it’s once in a while. It stops you from smoking and brightens your smile. But it’s repulsive revolting and wrong. Chewing and chewing all day long.

10 ⁄ 14 pt

Oompa Loompa do-ba-da-dee. If you are wise you’ll listen to me. Gum chewing’s fine when it’s once in a while. It stops you from smoking and brightens your smile. But it’s repulsive revolting and wrong. Chewing and chewing all day long.

12 ⁄ 16 pt

Oompa Loompa do-ba-da-dee. If you are wise you’ll listen to me. Gum chewing’s fine when it’s once in a while. It stops you from smoking and brightens your smile. But it’s repulsive revolting and wrong. Chewing and chewing all day long.

14 ⁄ 20 pt

Oompa Loompa do-ba-da-dee. If you are wise you’ll listen to me. Gum chewing’s fine when it’s once in a while.


1

5

7

8 6

9

2 4

1

9

7

6

2

5

4

8 3

3

DIDOT


16 ⁄ 20 pt

18 ⁄ 28 pt

Oompa Loompa do-ba-da-dee. If you are wise you’ll listen to me. Gum chewing’s fine when it’s once in a while.

Oompa Loompa do-ba-dadee. If you are wise you’ll listen to me. Gum chewing’s fine when it’s once in a while.

20 ⁄ 32 pt

Oompa Loompa do-bada-dee.


75 pt Bold

70 pt Italic

65 pt Regular

rebellious negligent impulsive

DIDOT ITC BENGUIAT GOTHIC STD


Didot Regular

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ . ? ! , “ ” ‘ : ;% & @ ( ) [ ] { } $ ¢ £ ¥ € § © ® ™ fi fl �

Italic

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ . ? ! , “ ” ‘ : ;% & @ ( ) [ ] { } $ ¢ £ ¥ € § © ® ™ fi fl �

Bold

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ . ? ! , “ ” ‘ : ;% & @ ( ) [ ] { } $ ¢ £ ¥ € § © ® ™ fi fl �


Where in the world is Didot?


G O T H A M


gotham Jonathan Hoefler and Tobias Frere-Jones

Gotham celebrates the attractive and unassuming lettering of the city. Public spaces are teeming with handmade sans serifs that share the same underlying structure, an engineer’s idea of “basic lettering� that transcends both the characteristics of their materials and the mannerisms of their craftsmen. These are the cast bronze numbers outside office buildings that speak with authority, and the engravings on cornerstones whose neutral and equable style defies the passage of time.


Jonathan Hoefler and Tobias Frere-Jones

Type designers Jonathan Hoefler and Tobias Frere-Jones are recognized for their contributions to the typographic landscape through impeccable craftsmanship, skilled historical reference and insightful vernacular considerations. Hoefler & Frere-Jones has designed some of the world’s most famous fonts—typefaces marked by both high performance and high style. Their body of work includes Gotham, the typeface of the Obama campaign, and Hoefler Text, which has shipped with more than seventy-five million Macintoshes. I.D. Magazine named both Jonathan Hoefler and Tobias Frere-Jones among the country’s 40 most influential designers, and in 2011, Fast Company identified Hoefler and Frere-Jones as one of the most innovative design companies in America. Their work has been exhibited internationally, and is in the collections of the Victoria and Albert Museum and the Cooper-Hewitt, National Design Museum. In 2009, they became the first typeface designers to be recognized by the National Design Awards, which celebrate excellence, innovation and lasting achievement in design. In 2011, the Museum of Modern Art in New York acquired their Gotham, Didot, Mercury and Retina type families for its permanent collection.


Gotham

B Q k i

Avenir

The bowl on the capitalized B are shaped different in Gotham.

The tail on Gotham’s Q breaks through the counter in the center.

The leg of Gotham’s k meet up with the arm without touching the stem.

The dot on the lowercase i is a square in Gotham.

B Q k i

The bowl on the capitalized B are shaped different in Avenir.

The tail on Avenir’s Q doesn’t break through the counter in the center.

The leg of Avenir’s k meet up with the arm at the stem of the letter.

The dot on the lowercase i is a circle in Avenir.


8 ⁄ 12 pt

I never dreamed that I would climb. Over the moon in ecstasy. But nevertheless, it’s there that I’m. Shortly about to be. Cause I’ve got a golden ticket. I’ve got a golden chance to make my way. And with a golden ticket, it’s a golden day.

10 ⁄ 14 pt

I never dreamed that I would climb. Over the moon in ecstasy. But nevertheless, it’s there that I’m. Shortly about to be. Cause I’ve got a golden ticket. I’ve got a golden chance to make my way. And with a golden ticket, it’s a golden day.

12 ⁄ 16 pt

I never dreamed that I would climb. Over the moon in ecstasy. But nevertheless, it’s there that I’m. Shortly about to be. Cause I’ve got a golden ticket. I’ve got a golden chance to make my way. And with a golden ticket, it’s a golden day.

14 ⁄ 20 pt

I never dreamed that I would climb. Over the moon in ecstasy.


Fizzy

Lifting

Drink

GOTHAM


Gotham Light

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z  a b c d e f g h i j k l m n o p q r s t u v w x y z  a b c d e f g h i j k l m n o p q r s t u v w x y z  0 1 2 3 4 5 6 7 8 9  . ? ! , “ ” ‘ : ;% & @ ( ) [ ] { } $ ¢ £ ¥ § © ® ™ Ω √ ≈ fi fl

Light Italic

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z  a b c d e f g h i j k l m n o p q r s t u v w x y z  a b c d e f g h i j k l m n o p q r s t u v w x y z  0 1 2 3 4 5 6 7 8 9  . ? ! , “ ” ‘ : ;% & @ ( ) [ ] { } $ ¢ £ ¥ § © ® ™ Ω √ ≈ fi fl

Book

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z a b c d e f g h i j k l m n o p q r s t u v w x y z  0 1 2 3 4 5 6 7 8 9 . ? ! , “ ” ‘ : ;% & @ ( ) [ ] { } $ ¢ £ ¥ § © ® ™ Ω √ ≈ fi fl

Book Italic

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z  a b c d e f g h i j k l m n o p q r s t u v w x y z  a b c d e f g h i j k l m n o p q r s t u v w x y z  0 1 2 3 4 5 6 7 8 9  . ? ! , “ ” ‘ : ;% & @ ( ) [ ] { } $ ¢ £ ¥ § © ® ™ Ω √ ≈ fi fl


80 pt Bold

75 pt Medium

70 pt Book

65 pt Light

truthful

fortunate generous

appreciative ITC BENGUIAT GOTHIC GOTHAM STD


Gotham Medium

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z  a b c d e f g h i j k l m n o p q r s t u v w x y z  a b c d e f g h i j k l m n o p q r s t u v w x y z  0 1 2 3 4 5 6 7 8 9  . ? ! , “ ” ‘ : ;% & @ ( ) [ ] { } $ ¢ £ ¥ § © ® ™ Ω √ ≈ fi fl

Medium Italic

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z  a b c d e f g h i j k l m n o p q r s t u v w x y z  a b c d e f g h i j k l m n o p q r s t u v w x y z  0 1 2 3 4 5 6 7 8 9  . ? ! , “ ” ‘ : ;% & @ ( ) [ ] { } $ ¢ £ ¥ § © ® ™ Ω √ ≈ fi fl

Bold

Bold Italic

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z  a b c d e f g h i j k l m n o p q r s t u v w x y z  a b c d e f g h i j k l m n o p q r s t u v w x y z  0 1 2 3 4 5 6 7 8 9  . ? ! , “ ” ‘ : ;% & @ ( ) [ ] { } $ ¢ £ ¥ § © ® ™ Ω √ ≈ fi fl A B C D E F G H I J K L M N O P Q R S T U V W X Y Z  a b c d e f g h i j k l m n o p q r s t u v w x y z  a b c d e f g h i j k l m n o p q r s t u v w x y z  0 1 2 3 4 5 6 7 8 9  . ? ! , “ ” ‘ : ;% & @ ( ) [ ] { } $ ¢ £ ¥  § © ® ™ Ω √ ≈ fi fl


Where in the world is Gotham?


Production

Bibliography

This book was created and illustrated by Tiffany Hill under the supervision of Elaine Coder as an assignment in Typography i during the spring semester of 2013 at the University of Missouri – St. Louis. Pages were composed InDesign CS6. Helvetica Neue lt Std was used for the copy, set at 9/12. It is Laser printed on Butcher White Dur-O-Tone paper, 80lb text, produced by the French Paper Company. http://www.aiga.org http://www.identifont.com http://www.linotype.com http://www.typophile.com Printed by Tiffany Hill Book  

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WIlly Wonka and the Type Factory  
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