Typography Book

Eight Designers & Eight Typefaces
Designers
& Typefaces
Copyright 2012 Greg Hartl All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. Printed in the umsl Arts Administration Building
St. Louis UMSL Books 2012
This book is dedicated to my family and friends for helping me out so much. Thank you for being there when I needed you the most.
Contents
1 Claude Garamond 2 Herman Zapf 3 Erik Spiekermann 4 Morris Fuller Benton 5 Frederic Goudy
6 Carol Twobly
7 Zuzana Licko
8 Hoeer & Frere-Jones
Claude Garamond
adobe garamond pro
Claude Garamond
Claude Garamond was born in 1480. He cut type for the Parisian scholar-printer Robert Estienne in the first part of the sixteenth century. He based his romans on type cut by rancesco Griffo for Venetian printer Aldus Manutius in 1495. Garamond would go on to refine his romans in later versions. He added his own concepts into his work as his skills as a punchcutter developed. Claude Garamond came into prominence in the 1540s, for a typeface that he created for the French king Francis I. It was used in a series of books by Robert Estienne. The French court later adopted Garamonds Roman types for their printing and the typeface influenced type across France and Western Europe. Garamond based much of his lowercase on the handwriting of Angelo Vergecio, librarian to Francis I. The italics of most contemporary versions are based on the italics of Garamonds assistant Robert Granjon.
Claude Garamond
Different Types
There are many different types of the Garamond typeface. One might even say too many in fact. There is a version from International Typeface Corporation, a version developed for AdobeSystems, one produced by the Monotype foundry, and countless more. Although there are so many they all have descended from the original 16th century design, and they all havevery similar traits. The head serifs at the top of character strokes look like little banners, and baseline serifs tend to be longslightly cupped with rounded ends. Another trait that is sharedare bidirectional serif s on the capital T.
Ties
Characteristics of Adobe Garamond Pro Regular 60 pt.
Lower case Upper Case
abcdefghijklmnopqrstuvwxyz ABCDEFCHIJKLMNOPQRST UVWXYZ
Oldstyle numbers Lining numbers Symbols Small Caps
1234567890 1234567890
${)}(/&%
ABCDEFGHIJLMNOPQRSTUVWXYZ Th ct ff fl fi ffi ffl fj ffj QaenrttzQ

1234567890 1234567890
Axis
An Axis refers to the angle of emphasis within a letter or stroke. Letters or typefaces with modulated strokes have areas of thick and thins, visible in rounded characters like the o or a.
oda
Axis of Adobe Garamond Pro Regular 60 pt.
Ligatures Style options
Numerators and Denominators
X-height
The x-height is the vertical measurement of a lowercase letters main body, usually defined by the x. Adobe Garamond Pro has a higher x-height and a difference between cap and ascender.
Exit
X-height of Adobe Garamond Pro Regular 60 pt.
Claude Garamond
18pt. type 17pt. type 16pt. type 15pt. type 14pt. type 13pt. type 12pt. type 11pt. type 10pt. type 9pt. type 8pt. type
ABCDEFGHIJKLMNOPQRS
ABCDEFGHIJKLMNOPQRST
ABCDEFGHIJKLMNOPQRSTU
ABCDEFGHIJKLMNOPQRSTUV
ABCDEFGHIJKLMNOPQRSTUVW
ABCDEFGHIJKLMNOPQRSTUVWVX
ABCDEFGHIJKLMNOPQRSTUVWVXYZ
Readers usually ignore the typographic interface, gliding comfortably along literacys habitual groove. Sometimes, however,the interface should be allowed to fail. By making itself evident, typography can illuminate the construction and identity of a page, screen, place, or product. Ellen Lupton 8pt
Readers usually ignore the typographic interface, gliding comfortably along literacys habitual groove. Sometimes, however, the interface should be allowed to fail. By making itself evident, typography can illuminate the construction and identity of a page, screen, place, or product. Ellen Lupton 12pt
Claude Garamond
Habitual Groove
Itself EVIDENT
interface
ILLUMINATE
allowed to fail
Claude Garamond
10
Readers Usually
Comfortably ALONG
typographic
IDENTITY
screen, place
& & & & & & & & & & & & Hermann Zapf & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & &
PALATINO
12
Hermann Zapf
Hermann Zapf is a type designer from Germany. He was born in 1918 in Nurenburg Germany. In 1934 Hermann joined the Karl Urich and Company printing rm, as an apprentince. Later he worked with Paul Knoch, during this time he produced lettering for musical notation and handpress type. When the second world war happened he worked as a cartographer in the German military. In 1977 he became the Professor of Typographic Computer Programming at the Rochester Institute of Technology in New York. Fonts he created such as Palatino, Optima, Zapf Chancery, and Zapf Dingbats are all on compturers. Optima is his favorite font ans was selected to be used on the Vietnam War Memorial. Hermann Zapf has created over 200 fonts since he created his rst font when he 20. His work is featured on computers. And are a mainstay for many graphic designers today.
Hermann Zapf
13
14
Palatino
In 1984 Palatino was one of the typefaces originally included by Apple Computer in the Macintosh. It gained great popularity until it began to be replaced by Times Roman. In 1999, Zapf revised Palatino for Linotype and Microsoft, called Palatino Linotype. The revised family incorporated extended Latin, Greek, and Cyrillic character sets. Named after 16th century Italian master of calligraphy Giambattista Palatino, Palatino is based on the humanist fonts of the Italian Renaissance, which mirror the letters formed by a broad nib pen; this has a calligraphic grace. But where the Renaissance faces usually use smaller letters with longer vertical lines with lighter strokes, Palatino has larger proportions, and is considered to be a much easier to read typeface.
Lower Case
abcdefghijklmnopqrstuvwxyz
Upper Case
ABCDEFGHIJKLMNOPQ RSTUVWXYZ
ABCDEFGHIJKLMNOPQRSTUVWXYZ
Small Caps
Numbers
1234567890 $^({})?&% +<=>
Fractions
Characteristics
Palapino falls under the oldstyle classication. It is characterized by its slight diagonal stress. It also uses scooped serifs, also known as cove or bracketed serifs. Its x-height is also considered shorter then other typeface classications. Old Style also has a contrast between the thick and thin lines are pronounced.
Symbols
Math Symbols
Exit
Characteristics of Palatino normal 60 pt.
Hermann Zapf
15
16
ABCDEFGHIJKLMNOPQRS
A type designer faces a big problem today, however. I am not speaking about the protection of typefaces but about poor copyings of drawing everywhere, which may make the designer sad for the rest of his life. He sees his children, his alphabets manipulated beyond his wildest imagination. Hermann Zapf 8pt
Hermann Zapf
17
18
Type Designer
Faces a Big Problem
SPEAKING
Beyond
His Alphabets
Hermann Zapf
19
20
Poor Copyings
Wildest Imagination
Manipulated
Protection
Designer Sad

META
22
Erik Spiekermann
Erik Spierkermann
Erik Spiekermann was born on March 30th, 1947, in Stadthagen, Lower Saxony. He studied the History of Art and English in Berlin. He got through school by running a letterpress printing press in the basement of his house. Spiekerman is an author, information architect, type designer (FF Meta, ITC Ofcina, FF Info, FF Unit, LoType, Berliner Grotesk and many corporate typefaces). He has written many books and articles on type and typography. He became European Ambassador for Innovation and Creativity by the European Union, in 2009. The German Design Council gave him their 2011 Lifetime Achievement Award, the highest award in Germany. He was also the 25th recipient of the TDC Medal, awarded by the Type Directors Club New York in 2011. Spiekermann lives and works in Berlin, London and San Francisco.
Erik Spierkermann
23
24
FF
Meta
Lower Case
abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQ RSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 $^`({})/&% ~+=
FF Meta is a humanist sans-serif typeface family designed by Erik Spiekermann originally as a commission for the Deutsche Bundespost (West German Post Ofce), but later released by Spiekermann himself in 1991 through his FontFont library. According to Spiekermann, FF Meta was intended to be a complete antithesis of Helvetica, which he found boring and bland. Throughout the 1990s, FF Meta was embraced by the international design community with Spiekermann and E. M. Ginger writing that it had been dubiously praised as the Helvetica of the 1990s.
Upper Case
Small Caps
Numbers
Symbols
Characteristics
Math Symbols
In FF Meta, strokes have slightly varying width as the Spiekermanns goal was that in small sizes, thinner strokes should not drop out but, on the contrary, become undistinguishable from the thicker ones.On the other hand, in compensation for the missing serifs, it has vigorously bent-off tips of vertical strokes in letters like d or m.
dorm
Characteristics of FF Meta normal 60 pt.
Erik Spierkermann
25
26
ABCDEFGHIJKLMNOPQRSTUVWX
Im obviously a typeomaniac, which is an incurable if not mortal disease. I cant explain it. I just love, I just like looking at type. I just get a total kick out of it: they are my friends. Other people look at bottles of wine or whatever, or, you know, girls bottoms. I get kicks out of looking at type. Its a little worrying, I admit, but its a very nerdish thing to do. Erik Spierkmann 8pt
Erik Spierkermann
27
28
Mortal Disease
An Incurable
TYPOMANIAC
A LITTLE
BUT ITS A
Erik Spierkermann
29
30
Bottles of Wine
Other People Look At
NERDISH
A TOTAL
THEY ARE
Morris Fuller Benton

CENTURY SCHOOLBOOK
32

Morris Fuller Benton was born on November 30th in Wisconsin. You could say Benton was born into the type business, his father, Linn Boyd Benton, was a type-founder. His father also invented the matrix-cutting machine, which revolutionized printing. Benton graduated as a mechanical engineer from Cornell and went to work with his father at the American Type Founders company in the type design department. Benton is credited with creating over 200 different typeface designs. Some of these typefaces include nclude Cloister Old Style, Bulmer, and Century Schoolbook. Benton also created a family of related neogrotesque sans-serif typefaces, known as gothics as was the norm at the time, includes Alternate Gothic, Franklin Gothic, and News Gothic. These typefaces were well recieved and similar to later realist sans-serif typefaces such as Helvetica than the other early grotesque types of his contemporaries. He also created plenty of humerous designs such as Hobo, Stymie, and Broadway.
33
34
Century Schoolbook
Century Schoolbook is familiar to many in North America as being the typeface many rst learned to read with. Morris Fuller Benton utilized research done by Clark University that showed young readers more quickly identi ed letterforms with contrasting weight, but with the lighter strokes maintaining presence. Tests also showed the importance of maintaining counter-form (the white space around the black letterform) in recognizing the face at smaller sizes.[16] In designing Century Schoolbook, Benton increased the x-height, the stroke width, and overall letterspacing. The faces were issued over a period of ve years, all of which were designed by Benton and issued by A.T.F.
Lower Case
Upper Case
Small Caps
Numbers
1234567890 $({})/& +<=>|~
Symbols
Exit
Math Symbols
Characteristics of Century Schoolbook Pro Regular 60 pt.
35
36
ABCDEFGHIJKLMNOPQ
ABCDEFGHIJKLMNOPQ
ABCDEFGHIJKLMNOPQR
ABCDEFGHIJKLMNOPQRSTUVX
ABCDEFGHIJKLMNOPQRSTUVWV
Geometry can produce legible letters but art alone makes them beautiful. Art begins where geometry ends, and imparts to letters a character transcending mere measurement. Paul Standard 8pt
Geometry can produce legible letters but art alone makes them beautiful. Art begins where geometry ends, and imparts to letters a character transcending mere measurement Paul Standard 10pt
37
38
Art Makes
Mere Measurement
IMPARTS
Letters
Geometry Ends
39
40
But Art Alone

Transcending Mere
Makes Them
Beautiful
Can Produce
Frederic Goudy
GOUDY OLD STYLE
42
Frederic Goudy
Frederic W. Goudy was born in Bloomington, Illinios, on March 8th 1845. In his Twenties Goudy worked as a bookkeeper for credit and morgage companies. While working these jobs he taught him self typography and printing. At age 52 Goudy uses impression to make his Hadriano typeface that is used on California students diplomas. Trajan (Trajan column) and Forum (memory) typefaces were inspired by another European tour. When he was 51 Goudy sells 8 typefaces to the Caslon type foundry in London. In 1920 Goudy becomes Art Director for Lanston Monotype and remains at this position for the 27 years. Goudy died in 1947 at the ripe old age of 82. He created 116 typefaces in his lifetime, 113 of those were after he was 40. Goudys fonts include Copperplate (1905), Kennerley (1911), Goudy Old Style (1915),Deepdene (1927), Remington Typewriter (1929), Californian (1938), and Bulmer (1939). Goudy has been quoted saying, Anyone who would letterspace blackletter would shag a sheep.
Frederic Goudy
43
44
Frederic Goudy
Primarily, Goudy Old Style is seen in companies with a reputable image. Its no doubt that this font is of noble birth as being born into the Old Style font family in 1915. The font is held in high regard and with good reason. Being one of 115 typeface products of Mr. Frederic W. Goudy, its percision takes on a very traditional stance Mr. Goudy is considered to be an artist of typography having studied it for many years. The better part of his life was spent publishing and designing typefaces such as Camelot Old Style and Cooperplate So how did Goudy Old Style come to be? After continuously examining the inner workings of a typeface and how to correctly formulate one, Frederic Goudy had it down to a science.
Lower Case
abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRST UVWXYZ

Upper Case
Small Caps
Numbers
1234567890 $^ +<=>|~
Symbols
Frederic Goudy
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 attributes most notably the gently curved, rounded serifs of certain glyphssuggest a Venetian influence.
Math Symbols
gijQ
Characteristics of Goudy Old style normal 60 pt.
Frederic Goudy
45
46
ABCDEFGHIJKLMNOPQRS
A man who would letterspace lower case would steal sheep. Frederic Goudy 8pt
A man who would letterspace lower case would steal sheep.
Frederic Goudy 10pt
Frederic Goudy
47
48
I consider a type good when it cant be any gooder. Frederic Goudy 8pt
LETTERSPACE
Lower Case
WOULD
A MAN WHO
Steal Sheep
Frederic Goudy
49
50
CONSIDER
A TYPE GOOD
WHEN IT
CANT BE ANY
GOODER
Carol Twombly
MYRIAD PRO
52
Carol Twombly
Born in 1959, Carol Twombly studied at the Rhode Island School of Design. She became interested in type design and typography under Professor Charles Bigelow. She was originally a sculpture major, but then she changed her major to graphic design. After graduation, she began a Masters course in digital typography at Stanford University. Carol was one of five students to graduate from this program. She went on to work at the Bigelow & Holmes studio. She then won first prize in the Morisawa Typeface Design Competition in 1984 for her typeface Mirarae, a Latin design which went on to be licensed and released by Bitstream. Since 1988 she has been a staff designer at Adobe Systems, and was awarded the prestigious Prix Charles Peignot at the 1994 ATypI conference in San Francisco, given to outstanding type designers under the age of 35. She would later retire from type in 1999.
Carol Twombly
53
54
Myriad Typeface
When Carol Twombly and Robert Slimbach designed Myriad in 1992, it was intended from the start to be a dual-axis Multiple Master font. It was the first sans-serif typeface among the Adobe Originals. Like its relations Frutiger and Syntax, it is classified as a Humanist sans-serif, because its strokes have contrasting, rather than uniform widths (unlike Futura, for example). The models for this are Roman typefaces: Myriad is not geometrically constructed, and the ascenders of the minuscules (l, h, f, ...) project above the upper case characters as is the case with many book serif typefaces. Naturally, Myriads italic fonts have all the classical characteristics too: a single-storey a, a descending f, and forms which are manually adjusted rather than simply slanted.
abcdefghijklmnopqrstuvwxyz ABCDEFCHIJKLMNOPQ RSTUVWXYZ

Small Caps Old style numbers Proportional numbers Symbols Ligatures Numerators Denominators
1234567890 1234567890
$({)}?%*
Th ct ff fl fi ffi ffl fj ffj h h 0123456789 123456789
Hello
These are characteristics of Futura Regular 60 pt.
Hello
These are characteristics of Myraid Pro Regular 60 pt.
Carol Twombly
55
56
ABCDEFGHIJKLMNOPQRS
Readers usually ignore the typographic interface, gliding comfortably along literacys habitual groove. Sometimes, however, the interface should be allowed to fail. By making itself evident, typography can illuminate the construction and identity of a page, screen, place, or product.
Ellen Lupton 8pt
Readers usually ignore the typographic interface, gliding comfortably along literacys habitual groove. Sometimes, however, the interface should be allowed to fail. By making itself evident, typography can illuminate the construction and identity of a page, screen, place, or product.
Ellen Lupton 10pt
Carol Twombly
57
58
Habitual Groove
Itself EVIDENT
interface
ILLUMINATE
allowed to
Carol Twombly
59
60
Readers Usually
Comfortably ALONG
typographic
IDENTITY
screen, place
62
Zuzana Licko
MRS EAVES
Zuzana Licko
Zuzana Licko was born in Bratislava, Czechoslovakia in 1961. She would emigrate to the United States in 1968. In 1984 she graduated with a degree in Graphic Communications from the University of California at Berkeley. During the mid 80s Zuzana founded Emigre with her husband Rudy Vanderlands. Along with founding Emigre they had a magazine that would showcase their fonts that they designed. These typefaces were designed on the rst generation of Macintosh Computers. The Emigre magazine led to Emigre fonts being distributed as software world wide. Zuzana Licko has created 27 different fonts. Some of her more famous ones have been Mrs. Eaves and Filoso a. Zuzana and her husband, Rudy, won the Chysler award in 1994.
Zuzana Licko
63
64
Sarah Eaves
Mrs Eaves is named after Sarah Eaves, the woman who became John Baskervilles wife. As Baskerville was setting up his printing and type business, Mrs. Eaves moved in with him as a live-in housekeeper, eventually becoming his wife after the death of her rst husband, Mr. Eaves. Mrs Eaves is a revival of the types of English printer and punchcutter John Baskerville, and is related to contemporary Baskerville typefaces.
abcdefghijklmnopqrstuvwxyz ABCDEFCHIJKLMNOPQ RSTUVWXYZ

Small Caps Numbers Symbols Math Symbols Ligatures
1234567890
$({)}?%*
+<=>|~
Similarities
Like Baskerville, Mrs Eaves has a near vertical stress, departing from the old style model. Identifying characters, similar to Baskervilles types, are the lowercase g with its open lower counter and swash like ear. Both the roman and italic uppercase Q have a owing swash like tail. The uppercase C has serifs at top and bottom; there is no serif at the apex of the central junction in uppercase W; and the uppercase G has a sharp spur suggesting a vestigial serif.
Th ct ff f f fj ffj h h
QCWG
Characteristics of Mrs. Eaves 60 pt.
QCWG
Characteristics of Baskerville Regular 60 pt .
Zuzana Licko
65
66
ABCDEFGHIJKLMNOPQRS
The most popular typefaces are the easiest to read; their popularity has made them disappear from conscious cognition. It becomes impossible to tell if they are easy to read because they are commonly used, or if they are commonly used because they are easy to read. Zuzana Licko 8pt
Zuzana Licko
67
68
Popular Typface
Easiest to READ
Disappear
BECOMES
Commonly Used
Zuzana Licko
69
70
Impossible to
Conscious Cognition
Popularity
THEY ARE Easy to Read
GOTHAM
72
Hoeer and Frere Jones
Tobias Frere Jones

After receiving his BFA in 1992 from Rhode Island School of Design, Frere-Jones joined Font Bureau, Inc. in Boston. During his seven years as Senior Designer, he created a number of the typefaces that are Font Bureaus best known, including Interstate and Poynter Oldstyle & Gothic. He joined the faculty of the Yale School of Art in 1996, where he continues to teach typeface design on the graduate level. In 1999, he left Font Bureau to return to New York, where he began work with Jonathan Hoeer. He has designed over ve hundred typefaces.
Jonathan Hoeer
Jonathan Hoeer is a typeface designer and an armchair type historian who specializes in the design of original typefaces. Named one of the forty most inuential designers in America by I.D. Magazine, Hoeers publishing work includes award-winning original typeface designs for Rolling Stone, Harpers Bazaar, The New York Times Magazine, Sports Illustrated, and Esquire; his institutional clients range from the Solomon R. Guggenheim Museum to the rock band They Might Be Giants. Perhaps his best known work is the Hoeer Text family of typefaces, designed for Apple Computer.
Frere Jones and Hoeer
73
74
Gotham Typeface
Gotham is a family of geometric sans-serif digital typefaces designed by American type designer Tobias Frere-Jones in 2000. Gothams letterforms are inspired by a form of architectural signage that achieved popularity in the mid-twentieth century, and are especially popular throughout New York City. The Gotham typeface was initially commissioned by GQ magazine, whose editors wanted to display a sans-serif with a geometric structure that would look masculine, new, and fresh for their magazine. GQ agreed that they needed something that was going to be very fresh and very established to have a sort of credible voice to it, according to Jonathan Hoeer.
Lower Case
Upper Case
Lower Case
Numbers
1234567890 $^` +<=>|~
Symbols
Gotham Characteristics
The Gotham typeface is a sans-serif typeface that has some very unique characteristics. Gotham has a tall x-height and very high ascenders. The crossbars are unbalanced on the f and t. It also has low descenders as well as singular letter forms.
Math Symbols
Exit
This example is using Gotham Regular 60 pt.
75
76
ABCDEFGHIJKLMNOPQ
ABCDEFGHIJKLMNOPQR
ABCDEFGHIJKLMNOPQRS
We see type as the clothes that words wear. You have more than one outt in your closet, because you dont wear the same thing to the ofce that you wear to the beach. Tobias Frere Jones 8pt
We see type as the clothes that words wear. You have more than one outt in your closet, because you dont wear the same thing to the ofce that you wear to the beach.
Tobias Frere Jones 10pt
We see type as the clothes that words wear. You have more than one outt in your closet, because you dont wear the same thing to the oce that you wear to the beach. Tobias Frere Jones 12pt
77
78
We See Type
Clothes that
Because
Your Closet
You Dont
79
80
Words Wear
YOU HAVE MORE
One Outt
THE OFFICE
BEACH
Handmade type book
81
This book was created by Greg Hartl under the supervision of Elaine as an assignment in Typography I in the fall semester of the year 2004 at University Missouri-St. Louis. Pages were composed in InDesign 5.0, type is Palatino 10/12 pt. printed on white paper.

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Eight Designers & Eight Typefaces

St. Louis UMSL Books 2012

8 Hoeer & Frere-Jones

Eight Designers & Eight Typefaces

Eight Designers & Eight Typefaces

Lower case Upper Case

abcdefghijklmnopqrstuvwxyz ABCDEFCHIJKLMNOPQRST UVWXYZ

Oldstyle numbers Lining numbers Symbols Small Caps

ABCDEFGHIJLMNOPQRSTUVWXYZ Th ct ff fl fi ffi ffl fj ffj QaenrttzQ

Ligatures Style options

Numerators and Denominators

Eight Designers & Eight Typefaces

Eight Designers & Eight Typefaces

Eight Designers & Eight Typefaces

Eight Designers & Eight Typefaces

Eight Designers & Eight Typefaces

1234567890 $^({})?&% +<=>

Eight Designers & Eight Typefaces

Eight Designers & Eight Typefaces

Eight Designers & Eight Typefaces

Eight Designers & Eight Typefaces

Eight Designers & Eight Typefaces

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQ RSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 $^`({})/&% ~+=

Eight Designers & Eight Typefaces

Eight Designers & Eight Typefaces

Eight Designers & Eight Typefaces

Morris Fuller Benton

Eight Designers & Eight Typefaces

Morris Fuller Benton

Morris Fuller Benton

Eight Designers & Eight Typefaces

1234567890 $({})/& +<=>|~

Characteristics of Century Schoolbook Pro Regular 60 pt.

Morris Fuller Benton

Eight Designers & Eight Typefaces

Morris Fuller Benton

Eight Designers & Eight Typefaces

Morris Fuller Benton

Eight Designers & Eight Typefaces

But Art Alone

Eight Designers & Eight Typefaces

Eight Designers & Eight Typefaces

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRST UVWXYZ

Eight Designers & Eight Typefaces

A man who would letterspace lower case would steal sheep.

Frederic Goudy 10pt

Eight Designers & Eight Typefaces

Eight Designers & Eight Typefaces

Eight Designers & Eight Typefaces

Eight Designers & Eight Typefaces

Lower case Upper Case

abcdefghijklmnopqrstuvwxyz ABCDEFCHIJKLMNOPQ RSTUVWXYZ

Th ct ff fl fi ffi ffl fj ffj h h 0123456789 123456789

Eight Designers & Eight Typefaces

Ellen Lupton 8pt

Ellen Lupton 10pt

Eight Designers & Eight Typefaces

Eight Designers & Eight Typefaces

Eight Designers & Eight Typefaces

Eight Designers & Eight Typefaces

Lower case Upper Case

abcdefghijklmnopqrstuvwxyz ABCDEFCHIJKLMNOPQ RSTUVWXYZ

Small Caps Numbers Symbols Math Symbols Ligatures