Issuu on Google+

Hoefler Text Vy Vu

41414141414141414

1414141414141414141414141

1414141414141414141414141


hoefler text

R

Vy Vu 2012


]


2424242424242424242424 4343434343434343434343 2424242424242424242424 4343434343434343434343 2424242424242424242424 4343434343434343434343 2424242424242424242424 4343434343434343434343 2424242424242424242424 4343434343434343434343 2424242424242424242424 4343434343434343434343 2424242424242424242424 4343434343434343434343 2424242424242424242424 4343434343434343434343 2424242424242424242424 4343434343434343434343


ta b l e o f c o n t e n t s

w i ii

z

2

introduction

anatomy

display

03-45

46-85

86-105

History Jonathan Hoefler

iii

Characteristics

vi

Evolution

v vi vii viii ix

Round Forms

x

Round-Square Forms Square Forms Diagonal-Square Forms

+

examples

Common Letter Pair/ Frequencies Studies

xi

Test Words, Sentences, Paragraphs

Diagonal Forms xii

Pangram

1


First typefaces on a Macintosh


w

[ introduction ] Histor y

i


How about now?

4

introduction / History

d

p

Weights ranging from Regular, Bold,

Notice how the leg of the k and the spine of

and Black.

the s are exaggerated.


According to the Vox-ATypl Classification,

and the italic swash small caps. Comparing

Hoefler Text (pronounced Heffler) is a Garalde

to other typefaces, what makes the Hoefler

(or Old Style) serif typeface designed in 1991

text unique are their special characters such

by Jonathan Hoefler, the creator of the foundry

as the lining figures, ligatures, fractions,

called Hoefler & Frere-Jones in 1989. The

math characters, monetary symbols, and

overall family includes twenty-seven styles

contextual punctuation. 1 These characters are

that encompasses three weights: regular, bold,

used to decorate and articulate the written

and black. There are also the roman and italic

text. For instance, the ligatures are extended

which features small caps, italic, swash caps,

far out, creating a more obscure look.

5

History / introduction


The reason why Jonathan Hoefler designed the Hoefler Text typeface family was also the same reason behind the response of the challenges and needs he met when he step foot into the graphic design world.

He simply just wanted more. He wanted more fonts, more styles, more choices that does not have to resort to on - the - fly variants of regular, italic, bold, and bold italic. When Hoefler first started out, there were only

6

a few designers that pursue their career in digital typography. Luckily, for Hoefler it was easy for clients to target his work. Since the digital typography field was small, so was competition including the equipment used to manufacture them. Hence without the competition, damages were being done to typography, for designers were too focused on “manufacturing their most important faces first� 2 which unfortunately during that time, the production processes were at their weakest. As a consequence, fine typography greatly suffered because the craftsmanship and refinement was not considered thoroughly enough.

introduction / History

Engraved capitals is one of his several added traditions to the typography world.


Sure, Helvetica has different weights (hairline, ultrathin, light, book, medium, normal, extra-black, etc.) and thicknesses for emphasis and contrast, but it was

R

not enough to please Hoefler aesthetically. The font still held the same body/structure, but only with little modification to the weight. Hoefler designed a font where there are little flourishes within the uppercase letters that adds finesse and formality to the structure.

7

Hoefler Text was created since the beginning of the

digital age, so there were a sea of undiscovered mediums to be dabbled with. Thanks to Hoefler’s revival of the traditional printings, more openings to new ideas emerged from the old-style figures and small caps. He brought

back some of his favorite seventeenth century elegant elements in typography that he did not see in any of the fonts of his time. The baroque-like typeface drew its inspiration from other two typefaces: Jean Janna’s Janson

Notice the ball terminals on the finishing curved stroke and leg of the uppercase R.

Text and Nicholas Kis’ Garamond Number 03. 3 This detailed oriented font trumps all the simple fonts that came before it, such as Helvetica and American Typewriter. History / introduction


x-height

x-height

x-height

x - height

x - height

x - height

x - height

8

x - height No matter the point size, the x-height is still legible, even at a 7 pt size. top to bottom :

7 pt , 9 pt , 11 pt , 13 pt ,

15 pt , 20 pt , 26 pt , 32 pt

introduction / History


In addition, the function of legibility and read-

was created, it was one of the three original

ability of the old digital fonts was sacrificed

fonts that was prosperously used in System

when set at certain sizes. The x-height and

7.5. There were some faulty errors concerning

counters might be too diminutive to be legible

the TrueType GX fonts, for some fonts were

at a smaller size. But with Hoefler, he made

unable to display its full capabilities, however,

it possible for the font to be legible at any

Hoefler’s typeface pulled through. 4 And now,

proportion and in any way that it is utilized.

since everything is moving to the web, Hoefler

The changes that Hoefler wanted, he made

& Frere-Jones is expanding their font library

happen with a few additional traditions added

to other browsers and interface systems, like

along the way. Hoefler Text continuously

Windows. One of his company’s striving goals is

remains to be used by designers, businesses,

to have their library exist on all browsers. This

and even the average person. It is a type-

way all users, not only from the Macintosh,

face that is set in stone and pre-installed on

will have an opportunity to utilize his fonts. 5

9

every Macintosh computer. When the font

History / introduction


Photo courtesy of Marc Eckardt


w

[ introduction ] Jonathan Hoefler

ii


Jonathan Hoefler is a American designer specialized in typography. He worked at

12

the Hoefler & Frere-Jones type foundry located in New York alongside his fellow type designer, Tobais Frere-Jones. Hoefler’s inspiration for designing typefaces came about when he first saw a 1983 Macintosh advertisement in Time Magazine:

introduction / Jonathan Hoefler


“There were all these photographs of screen graphs, like things you do on a Mac, you know pie charts, and shit like that. And one of them is this little tiny thing and these fifteen words that changed my life:‘If you don’t see a typeface you like here, Macintosh lets 6 you design your own.’” Jonathan Hœfler

talk at Pivot: AIGA Design Conference


14

86

Counters inside the 8 and 6 are elliptical while the percentage sign’s counter is a round circle.

This simple quote brought together his love for being a computer nerd and design at that moment. It was the initiative that started his career as a type designer. Hoefler found that the fonts, like Helvetica for example, on the Macintoshes at that time were“bewildering.� Observing that the counters in the number 8 and 6 and the circles in % were not the same.

introduction / Jonathan Hoefler


There were only four types of style at that

complex typography with its ornate styles and

time regular, italic, bold, and bold italic. 7 To

characteristics. The typeface later became a

him, it seemed that the styles were limited,

part of the Macintosh operating system and is

so he began developing the typeface family

used everywhere. But his journey in design-

called Hoefler Text. He wanted to create new

ing fonts did not stop there, for he continued

kinds of fonts, ones that contain small caps,

to work with his design team in New York

italic small caps, swashes, and arabesques

to create other well-known fonts such as

because at that time the world of Macintosh

Gotham, Didot, and Vitesse which would later

was stuck with the four simple and mundane

be used in magazines and advertisements.

versions of the fonts. Hoefler Text allowed for

15

Didot used for Vogue magazine logo, 2001.

Johnathan Hoefler / introduction


The Hoefler & Frere-Jones foundry was established in 1989 and continues to deliver the high performance and high style that they withhold. Jonathan Hoefler’s dedication to bringing new typefaces to the world made him

“...one of the forty most influential designers in America by I.D. Magazine.”

16

introduction / Jonathan Hoefler

Plenty of his works were used in world renown

He worked under Roger Black, a publication

publications such as the Rolling Stones,

designer, at the Font Bureau for some time

Harper’s Bazaar, The New York Times Magazine,

and was later contacted by Harper’s in 1991

Sports Illustrated, and Esquire. 8 He began

to redesign their identity. Not only were his

his education as a graphic designer but felt

works in printed magazines, they exist on

that the world needed more fonts to choose

popular internet websites as well, such as

from, so he set out designing his own fonts.

the logo of Wikipedia set in Hoefler Text.


Hoefler Text used for Wikipedia logo, 2001 (top) and Didot for Harper ’s Bazaar, 1991 (bottom)

WikipediA The Free Encyclopedia

17

Johnathan Hoefler / introduction


Hoefler Text is used in various ways by various users. The

In 2011, Dickinson College in Pennsylvania unveiled its

typeface can make an appearance in print or on the web.

new visual identity as a celebration and solidification for

There was not a specific medium where Jonathan Hoefler

becoming one of the nation’s best colleges and universi-

wanted his typefaces to be used, in fact he wanted to expand

ties. Claude Skelton Design, who designed this identity, says

his font library so it can reach more audiences. Print designers

that branding logo “captures the spirit of pride, confidence

would use it in magazines and book layouts and web designers

and energy that runs throughout the college”. 9 Hoefler’s

would use the fonts for their web sites. The font can also be

font had the ability to evoke emotions and feelings from

turn into a logo for some companies, such as Wikipedia in 2010.

those who come across his text, it shows that his fonts can

To use a specific font, like Hoefler Text, as a logo signifies the

also reach people at a personal and emotional level and

company’s trust in the font and displays that they want that

not just at a design standpoint. The font also made ap-

particular font to be the face and representation of what the

pearances in the Oprah Magazine and the Smithsonian.

company is about.

18

The redesigned college seal (left) features a newly rendered liberty cap, telescope and book. The new logo (right) set in the Hoefler typeface exudes an understated confidence.

introduction / Jonathan Hoefler


Jonathan Hoefler basically lets the designer do what

Hoefler Text is used in various ways by various users. The typeface can make an appearance in print or on the web. There was not a specific medium where Jonathan

they want with

Hoefler wanted his typefaces to be used, in

the font, for as long

would use it in magazines and book layouts

as it is used in a dignified manner,

fact he wanted to expand his font library so it can reach more audiences. Print designers and web designers would use the fonts for their web sites. The font can also be turn into a logo for some companies, such as Wikipedia in 2010. To use a specific font, like Hoefler Text, as a logo signifies the company’s trust in the font and displays that they want that particular font to be the face and representation of what the company is about.

he is satisfied. Johnathan Hoefler / introduction

19


20

introduction / Jonathan Hoefler


His works has been exhibited and included in the permanent collection of the Cooper-Hewitt National Design Museum located in New York. Clients would contact the Hoefler & FrereJones Type Foundry to commission a typeface for their company. The font Gotham was born when GQ Magazine asked them to create a font that was

“...a sans-serif made on a geometric structure that would look masculine and new, and fresh, and be versatile.” 10

«

This font was later used in Barack “Obama’s Change We Can Believe In” campaign banners and other materials. The foundry have their fair share of clients that are known in the advertising and marketing world.

Johnathan Hoefler / introduction

21


EFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEF GHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGH EFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEF GHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGH EFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEF GHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGH EFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEF GHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGH EFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEF GHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGH EFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEF GHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGH EFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEF GHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGH EFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEF GHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGH EFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEF GHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGH EFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEF GHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGH EFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEF GHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGH EFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEF GHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGH EFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEF GHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGH EFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEF GHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGH EFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEF GHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGH EFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEF GHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGHGH EFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEFEF


w

[ introduction ] Characteristics

iii

23


Being classified as a Garalde typeface means that there are distinct characteristics within parts of the letters that separate them from the other typefaces like Pre-Venetian, Venetian, Transitionl, Didone, and Display.

OEM

OEM

Hoefler Text

Adobe Garamond

24

Garalde typefaces have flowing forms, medium to high contrast and variable widths (the capital letters have wide and narrow oldstyle proportions).

introduction / Characteristics

11

OEM Minion Pro


Hoefler Text is comprised of several ways to display their italics. It appears that allowing the designer to have the option to decorate their text is seen as an important factor, for there are multiple ways to ‘fine-tune the flavor’ of its italics.

M

Hoefler Text Regular

+

M

Hoefler Text Italic

+

M

Swash Caps

25

Swash caps is a typographical flourish on a glyph, like an exaggerated serif that were historically often used to begin sentences.

Characteristics / introduction


e

26

A beautifully crafted organic Hoefler Text ornament.

introduction / Characteristics


Along with the decorative swashes comes the ornaments and arabesques which are used to embellish the surroundings of the text. Borders and tiling can be created using the repeating elements of these ornaments.

The combinations of ornaments create a set of interlocking arabesques, capable of generating an infinite number of repeating patterns.

12

OOOOPOPOOPOOOO

OOPOPOOPOOPOP

OPOPOPOPOOPOPOO

OPOPOPOPOOPOPOPO This text paragraph above is enclosed by the use of two Hoefler Text ornaments.

Characteristics / introduction

27


The comparison between Hoefler Text and other typefaces, like

The purpose of the Neo-Grotesque typefaces is for their

Helvetica and Garamond, there are some well-defined differenc-

‘simplicity and perceived alliance with the machine age’ 13, so

es and similarities between the fonts. Using the Vox-ATypl, one

in turn, their type is more clean-cut and highly legible whereas

is able to characterize how different Hoefler Text is to Helvetica. the Hoefler text is more calligraphic. An obvious observation Comparing the two fonts is like comparing apples to oranges.

amidst the two fonts is the serif and sans-serif characteristic.

They each grow from different kinds of trees. To start, Helvetica

Serifs do not exist in the Lineal fonts, but they do in Garaldes.

is categorized underneath the Neo-Grotesque lineal typeface.

G

28

G Hoefler Text contains serifs while Helvetica’s are nonexistent.

introduction / Characteristics


To compare it using a typographer’s eyes, one is able to identify how the unique structural features of Hoefler Text and Helvetica. There are certain terms that help break down the similarities and differences.

29

Hoefler contains a

beak ,

which is

defined as a single-sided upper serif, whereas Helvetica’s is nonexistence.

Characteristics / introduction


E E Sans-serif fonts lack

brackets .

Notice the curved shapes that join the horizontal and vertical strokes in Hoefler Text.

O O

30

The

stress

( the axis at which

the letter is drawn) are both upright and not oblique. In addition, the contrast between the strokes of fonts Helvetica has a lower contrast than Hoefler Text.

introduction / Characteristics


F

31

A dramatic feature that Helvetica does not hold are

swashes

and

ligatures .

Characteristics / introduction


Moving on with the comparisons, the typeface Garamond has more similiar characteristics with

{

Hoefler Text. For one, they are both contrived

under the same type classification: garalde .

Garalde typefaces demonstrate a greater refinement than the Humanists because the skills of punchcutters improved. There is a greater contrast in the thick and thins of the strokes, sharper in appearance, and more refined.

{

32

It is more difficult to differentiate between Hoefler and Garamond because they are serif fonts. However, even with the same classification there are some dissimilarities that make the fonts unique.

introduction / Characteristics


1234567 1234567 Hoefler Text (left) has text figure numbers whereas Garamond (right) carry the lining figures where all the figures are at the same height and rests on the baseline.

Characteristics / introduction

33


34

H Hoefler Text

introduction / Characteristics


H Garamond

If one examines closely, one is able to

spot that both of the typefaces contain cupped

brackets ,

where the bottom of

the bracket is arched upwards like a foot.

Characteristics / introduction

35


w

[ introduction ] Evolution

iv


38

introduction / Evolution


Technology played an important role in the

printer, and publisher Johannes Gutenberg

development and evolution of typography.

invented the glorious invention of printing

Before computers and digital press, historical

press. People began creating fonts, but they

typographers would design type using the wood-

were unable to get the thin clean crisp lines like

block method of printing. Then as technology

Jonathan Hoefler did to his typefaces for the

evolved, printing became easier by each century.

technique of movable type was done purely by

From the printing press method to lithography to

human hands. The precision and measurements

hot metal typesetting, different techniques were

were not done by computer design programs,

utilized in creating fonts, thus various ideas

hence it was difficult to attain the neat and

would emerge for each approach during the

proper lines. Even the curves, which are difficult

process. There are advantages and disadvan-

to draw by hand, were easily constructed with

tages in the technology that was provided then.

the help of the systematic measurement tools.

39

Around 1450, German blacksmith, goldsmith,

Evolution / introduction


40

W O introduction / Evolution

Notice the clean cut straight edges of the lines on the letter W and the smooth curves of the swashes of the O. These are the special facets that design programs were able to achieve. The contrast in the letter W and O is impeccable.


J

Even curves created by design programs for Hoefler Text ornaments

Jonathan Hoefler had the advantage over this because creating type became easier without the hard labor of cutting metal. Everything is computer digitized. More intricate details in the typefaces were made possible. For instance, even the most minute feature in the ornaments can be created with excellent finesse because the programs allowed them to be developed. The impossible was now attainable.

Evolution / introduction

41


Digital type had offered the “potential for fonts to be not merely as good as traditional

42

ones, but demonstrably better than anything that had gone before.” The emergence of the Adobe programs led to fresh ideas and possibilities that were waiting to be tested. The new concepts were introduced to designers such as “old-style figures” and “small caps.” 14 But it did not stop there for Hoefler because he looked deeper into the past to bring back older traditions from fine printing that the designers did not utilized.

introduction / Evolution


Lorem ipsum dolor sit ame consectetur adipiscing el Sed vulputate aliquet sce isque. Nulla ac libero fe facilisis enim. Integer at nulla, eu mattis nulla. D tincidunt orci ut massa u cies nec elementum eros o nare. Vestibulum sit amet 43

Hoefler Text set in italic small caps swash

Evolution / introduction




44

Apple helped Jonathan Hoefler expand his typefaces, including Hoefler Text.

introduction / Evolution


Hoefler Text was later discovered by the developers at Apple and they commissioned him to further expand his fonts. In heed of society’s use of type, Apple wanted to share their font creation with the nation, so as a result “TrueType Gx” was created. 15 What this technology did was made fine typography readily available for anyone, no matter the

45

occupation or age. This benefited Hoefler Text for the advanced features such as small caps and old-style figures have now became a standard issue. The old standard use of regular, italic, and bold were no longer the only options towards variants.

Evolution / introduction


z

[ anatomy ] Round Forms

v

47


Stress

48

Cc Hoefler Text’s round forms consists of smooth curves with barely any straight strokes.

Jonathan Hoefler made use of the descender

line with the exaggerated curve of the swashes.

anatomy / Round Forms


Hoefler Text Black

Hoefler Text Italic Swash

Cc Cc Cc Cc

ASCENDER LINE

CAP HEIGHT

X-HEIGHT

BASELINE

DESCENDER LINE

Hoefler Text Bold

Hoefler Text Italic

Round Forms / anatomy

49


Gg Ear

50

Loop/Lobe

Gg Gg Gg Gg anatomy / Round Forms


Ss

Spine

51

Ss Ss Ss Ss Round Forms / anatomy


Oo

52

Oo Oo Oo Oo anatomy / Round Forms


Qq

53

Tail

Qq Qq Q q Round Forms / anatomy


z

[ anatomy ] Round-Square Forms

vi

55


Round-Square Forms features curved and straight strokes. They intersect with one another to create the letterform.

Bb

Bowl

56

Bb Bb Bb Bb anatomy / Round-Square Forms


Dd

Ascender

57

Dd Dd Dd Dd Round-Square Forms / anatomy


Bracket

58

Uu

Uu Uu Uu anatomy / Round Forms


Pp

59

Pp Pp Pp Pp Round-Square Forms / anatomy


Rr

60

Rr Rr Rr Rr anatomy / Round-Square Forms


Jj

61 Descender

Jj Jj Jj Round-Square Forms / anatomy


z

[ anatomy ] Square Forms

vii

63


Ee Arm

The square forms of Hoefler Text consists of straight lines that are perpendicular or parallel to one another. No diagonals are found within these letterforms.

64

Ee Ee Ee Ee anatomy / Square Forms


Ff

65

Ff Ff Ff Ff Square Forms / anatomy


Hh Crossbar

66

Hh Hh Hh Hh anatomy / Square Forms


Ll

67

Ll Ll Ll Ll Square Forms / anatomy


Tt Finial

68

Tt Tt Tt Tt anatomy / Square Forms


Ii

Tittle

69

Ii Ii Ii Square Forms / anatomy


z

[ anatomy ] Diagonal-Square Forms

viii

71


Stroke

72

Zz Diagonal-Square forms in Hoefler Text contains diagonal stroke that are connected to one

or two straight vertical or horizontal lines .

anatomy / Diagonal-Square Forms


Zz Zz Zz Zz

ASCENDER LINE

CAP HEIGHT

X-HEIGHT

BASELINE

DESCENDER LINE

Diagonal-Square Forms / anatomy

73


Nn Shoulder

74

Nn Nn Nn Nn anatomy / Diagonal-Square Forms


Kk

75

Kk Kk Kk Kk Diagonal-Square Forms / anatomy


Mm

76

Mm Mm Mm Mm anatomy / Diagonal-Square Forms


Yy

77

Terminal

Yy Yy Yy Diagonal-Square Forms / anatomy


z

[ anatomy ] Diagonal-Square Forms

ix

79


Aa Apex

80

Diagonal forms only has diagonal strokes that meet to form a point or apex. There are no horizontal or vertical strokes.

anatomy / Diagonal Forms


Aa Aa Aa A a ASCENDER LINE

CAP HEIGHT

X-HEIGHT

BASELINE

DESCENDER LINE

Diagonal Forms / anatomy

81


Vv

82

Vv Vv Vv Vv anatomy / Diagonal Forms


Ww

83

Overshoot

Ww Ww Ww Ww Diagonal Forms / anatomy


Xx

84

Xx Xx Xx Xx anatomy / Diagonal Forms


& Counter

85

&&& Diagonal Forms / anatomy


TH HE AN RE ER IN ON AT ND ST ES EN OF TE ED OR TI HI AS TO TH HE AN RE ER IN ON AT ND ST ES EN OF TE ED OR TI HI AS TO TH HE AN RE ER IN ON AT ND ST ES EN OF TE ED OR TI HI AS TO TH HE AN RE ER IN ON AT ND ST ES EN OF TE ED OR TI HI AS TO TH HE AN RE ER IN ON AT ND ST ES EN OF TE ED OR TI HI AS TO TH HE AN RE ER IN ON AT ND ST ES EN OF TE ED OR TI HI AS TO TH HE AN RE ER IN ON AT ND ST ES EN OF TE ED OR TI HI AS TO TH HE AN RE ER IN ON AT ND ST ES EN OF TE ED OR TI HI AS TO TH HE AN RE ER IN ON AT ND ST ES EN OF TE ED OR TI HI AS TO TH HE AN RE ER IN ON AT ND ST ES EN OF TE ED OR TI HI AS TO TH HE AN RE ER IN ON AT ND ST ES EN OF TE ED OR TI HI AS TO TH HE AN RE ER IN ON AT ND ST ES EN OF TE ED OR TI HI AS TO TH HE AN RE ER IN ON AT ND ST ES EN OF TE ED OR TI HI AS TO TH HE AN RE ER IN ON AT ND ST ES EN OF TE ED OR TI HI AS TO TH HE AN RE ER IN ON AT ND ST ES EN OF TE ED OR TI HI AS TO TH HE AN RE ER IN ON AT ND ST ES EN OF TE ED OR TI HI AS TO TH HE AN RE TH HE AN RE ER IN ON AT ND ST ES EN


z

[ display + examples ] Common Letter Pairs / Frequencies Studies

x

87


TH TO HE AN 88

RE

ER

IN ON

AT ND ST display + examples / Common Letter Pairs / Frequencies Studies

ES


EN OF

TE ED

OR

HI

TI

AS

According to Herbert S. Zim’s introductory cryptography text “Codes and Secret Writing,” these are letter pairings that are commonly used in the English language.

Common Letter Pairs / Frequencies Studies / display + examples

89


90

LL

EE

SS

TT

FF

RR NN

PP

CC

display + examples / Common Letter Pairs / Frequencies Studies

Most common doubled letter pairings

OO


ETAON

RISHD

LFCMU

GYPWB

VKXJQ

Z

English letter frequency sequence

Letter frequencies are used for the study of crypotgraphy, which are techniques for secure communication in the presence of third parties, and frequency analysis.

Common Letter Pairs / Frequencies Studies / display + examples

91


“I am still an old man. But I am not unarmed.” – Excerpt from The Old Man and the Sea


z

[ display + examples ] Test Words, Sentences, Paragraphs

xi

93


The

Old Man and the Sea

94

top to bottom :

Hoefler Text Swash Italic, 28 pt Hoefler Text Engraved font, 80 pt Hoefler Text Italic, 28 pt

display + examples / Test Words


by:

Ernest Hemingway 48 pt

140 pt

Test Words, Sentences, Paragraphs

/ display + examples

95


He was an old man who fished alone in a skiff in the Gulf Stream and he had gone eighty-four days now without taking a fish. In the first forty days a boy had been with him. But after forty days without a fish the boy’s parents had told him that the old man was now definitely and finally salao, which is the worst form of unlucky, and the boy had gone at their orders in another boat which caught three good fish the first week. It made the boy sad to see the old

96

man come in each day with his skiff empty and he always went down to help him carry either the coiled lines or the gaff and harpoon and the sail that was furled around the mast. The sail was patched with flour sacks and, furled, it looked like the flag of permanent defeat.” 16 – Excerpt from The Old Man and the Sea

Hoefler Text in paragraph form 12 pt

display + examples / Test Words


36 pt

“Santiago,” the boy said.

“Yes,” the old man said. He was holding his glass and thinking of many years ago. 23 pt

28 pt

97

“Can I go out to get sardines for you for tomorrow?” “No. Go and play baseball. I can still row and Rogelio will throw the net.”

Hoefler Text in sentence form. 12 pt

23 pt Test Words, Sentences, Paragraphs

/ display + examples


‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡

4444444444444444444444444444

‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡

4444444444444444444444444444

‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡

4444444444444444444444444444

‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡

4444444444444444444444444444

‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡

4444444444444444444444444444

‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡

4444444444444444444444444444

‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡

4444444444444444444444444444

‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡

4444444444444444444444444444

‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡

4444444444444444444444444444


z

[ display + examples ] Pangram

xii

99


The quick brown fox jumped over the lazy dog.

Hoefler Text Regular 18 pt

The quick brown fox jumped over the lazy dog.

Hoefler Text Italic

The quick brown fox jumped over the lazy dog.

Hoefler Text Bold

100

The quick brown fox jumped over the lazy dog.

Hoefler Text Black

The quick brown fox jumped over the lazy dog.

Hoefler Text Black Italic

The quick brown fox jumped over the lazy dog.

Hoefler Text Swash Italic

The quick brown fox jumped over the lazy dog.

Hoefler Text Swash Caps Italic

display + examples / Pangram


El veloz murciélago hindú comía feliz cardillo y kiwi. La cigüeña tocaba el saxofón detrás del palenque de paja.

Hoefler Text Regular 14 pt

El veloz murciélago hindú comía feliz cardillo y kiwi. La cigüeña tocaba el saxofón detrás del palenque de paja.

Hoefler Text Italic

El veloz murciélago hindú comía feliz cardillo y kiwi. La cigüeña tocaba el saxofón detrás del palenque de paja.

Hoefler Text Bold

El veloz murciélago hindú comía feliz cardillo y kiwi. La cigüeña tocaba el saxofón detrás del palenque de paja.

Hoefler Text Black

El veloz murciélago hindú comía feliz cardillo y kiwi. La cigüeña tocaba el saxofón detrás del palenque de paja.

Hoefler Text Black Italic

El veloz murciélago hindú comía feliz cardillo y kiwi. La cigüeña tocaba el saxofón detrás del palenque de paja.

Hoefler Text Swash Italic

El veloz murciélago hindú comía feliz cardillo y kiwi. La cigüeña tocaba el saxofón detrás del palenque de paja.

Hoefler Text Swash Caps Italic

Pangram

/ display + examples

101


Portez ce vieux whisky au juge blond qui fume

Hoefler Text Regular 20 pt

Portez ce vieux whisky au juge blond qui fume

Hoefler Text Italic

Portez ce vieux whisky au juge blond qui fume

Hoefler Text Bold

102

Portez ce vieux whisky au juge blond qui fume

Hoefler Text Black

Portez ce vieux whisky au juge blond qui fume

Hoefler Text Black Italic

Portez ce vieux whisky au juge blond qui fume

Hoefler Text Swash Italic

Portez ce vieux whisky au juge blond qui fume

Hoefler Text Swash Caps Italic

display + examples / Pangram


Victor jagt zwölf Boxkämpfer quer über den großen Sylter Deich Hoefler Text Regular 12 pt

Victor jagt zwölf Boxkämpfer quer über den großen Sylter Deich Hoefler Text Italic

Victor jagt zwölf Boxkämpfer quer über den großen Sylter Deich Hoefler Text Bold

Victor jagt zwölf Boxkämpfer quer über den großen Sylter Deich 103

Hoefler Text Black

Victor jagt zwölf Boxkämpfer quer über den großen Sylter Deich Hoefler Text Black Italic

Victor jagt zwölf Boxkämpfer quer über den großen Sylter Deich Hoefler Text Swash Italic

Victor jagt zwölf Boxkämpfer quer über den großen Sylter Deich Hoefler Text Swash Caps Italic

Pangram

/ display + examples


Aa Bb Cc Dd Ee Ff Gg Hg Ii Jj Kk Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz

104

Upper and Lower case letters of the English alphabet

display + examples / Pangram


1234567890 ~`!@#$%^&*?_

105

+-=/()[]{}<>,.;:’” Symbols and Numbers

Pangram

/ display + examples


bibiliography

1. “Hoefler Text,” Hoefler & Frere-Jones (online; 1989-2012), http://www.typography.com/fonts font_overview.php?productLineID=100010/ (accessed 27 Jan. 2012). 2. “Hoefler Text.”

106

3. Womack, Mark. “Favorite Fonts: Hoefler Text.” Obsession with Detail (blog), http://obsession withdetail.net/ (accessed February 7, 2012). 4. Paul Shaw, “The Digital Past: When Typefaces Were Experimental,” AIGA (online; May 19, 2005), http://www.aiga.org/the-digital-past-when-typefaces-were-experimental/ (accessed 21 Feb. 2012). 5. Jonathan Hoefler, “Type at the Crossroads,” Pivot: AIGA Design Conference (Distributed by AIGA, October 15, 2011 ), http://www.aiga.org/video-pivot-2011-hoefler/ (accessed 21 Feb. 2012). 6. Jonathan Hoefler. 7. Jonathan Hoefler. 8. “Biographies,” Hoefler & Frere-Jones (online; 1989-2012) http://www.typography.com/about/biog raphies.php/ (accessed 2 Feb. 2012).


9. “New Visual Identity Unveiled,” Dickinson College (October 22, 2011 ), http://www.dickinson.edu/news-andevents/news/2011-12/New-Visual-Identity-Unveiled/ (accessed 21 Feb. 2012). 10. Helvetica. DVD. Directed by Gary Huswit. UK: Veer and Swiss Dots, 2007. 11. Karen Cheng, Designing Type (New Haven: Yale University Press, 2006), 14. 11. Cheng, Designing Type, 15. 12. “Hoefler Text.” 13. “Hoefler Text.” 14. “Hoefler Text.” 15. “Hoefler Text.” 16. Ernest Hemingway. The Old Man and the Sea (New York: Scribner Paperback Fiction, 1995), 9. photos :

http://typotalks.com/berlin/de/2011/01/26/celebrating-15-years-of-typo-berlin-moments-6/ http://www.vectronicsappleworld.com/macintosh/articlepics/1984ad/macfonts.jpg http://iowa.barackobama.com

107


[



Hoefler Text Font Book