Job:03171 Title:Typography Referenced (Rockport)
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Typefaces and Specimens
SANS SERIF CHARACTERISTICS
Typography
Typography
Typography
Typography
Humanist (set in Gill Sans):
Classic proportions with serif
infl uences, minimum contrast,
some double-storey lowercase
letters, medium x-height
Grotesque (set in News
Gothic): Varying contrast,
diff erent stroke widths across
lowercase letters, wider
letterforms, no serifs
Neo-Grotesque (set in
Helvetica): Nearly consis-
tent stroke widths, more
condensed letterforms
compared to Grotesque
faces, larger counters
Geometric (set in Futura):
Geometric construc-
tion, monoline strokes,
circular counters, single-
storey lowercase forms
Think Big for Classic Graphics, designed
by Cotton and Crown, uses Helvetica Neue
juxtaposed with thirty other fonts.
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Typography, Referenced
This still from Brent
Barson’s Typophile
5 video shows a staid
sans serif juxtaposed
against a slab serif
drinks and taste to
emphasize the sensations
individuals experience.
Boese Dinge poster by
Ralph Schraivogel set
in Akzidenz Grotesk
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Typefaces and Specimens
Ralph Schraivogel’s
poster for the Cinemafrica
fi lm series uses a textured
Helvetica, making the
popular typeface appear
a little mysterious.
A large graphic printed on
the wall of the Madison
Square Garden Media
offi ces uses the muscular
Tungsten typeface to give
the motivational quotes
attitude and authority.
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A BCDEFG HIJKLMNOPQRSTUVWXYZ
a bcdefghijklmnopqrst uvwxyz
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Typography, Referenced
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Background
Traits
Akzidenz Grotesk was known as Accidenz-Grotesk, but called
Standard in the United Kingdom and the United States when
fi rst issued by Berlin’s H. Berthold AG () foundry. Its design
originated with Royal Grotesk light by Ferdinand Theinhardt,
who was a royal type cutter. When the Theinhardt foundry
merged with Berthold, the regular, medium, and bold weights
were included. Günter Gerhard Lange, who was Berthold’s art
director, enlarged the typeface family in the s () but kept
the unique properties inherent in the original.
Lange was also instrumental in expanding Akzidenz
Grotesk to include other styles such as medium italic, extra
bold, extra bold condensed, and extra bold condensed
Stroke weight varies slightly across the entire family,
and its large x-height gives it a bigger appearance
than other sans serif fonts. Its G has a spur and its A is
fl at at the top. In the lowercase () set, the a and t
each has what looks like a curved serif on its foot.
Akzidenz Grotesk
YEAR
ORIGINAL DESIGNERS
Berthold Type Foundry
CLASS
Grotesque
A designer’s job will become
even more challenging as
the quantity of information
and noise increases during
the twenty-fi rst century.
Those who possess a broad
typographic understanding will
best meet the communicative
and creative challenge,
especially during a time when
people know the difference
between one font and
another—and which ones read
better or worse with software’s
default 120-percent leading.
ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
abcdefghijklmnopqrstuvwxyz
The quick brown fox jumped over the lazy dog.
ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
abcdefghijklmnopqrstuvwxyz
The quick brown fox jumped over the lazy dog.
ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
abcdefghijklmnopqrstuvwxyz
The quick brown fox jumped over the lazy dog.
SELECTED AKZIDENZ GROTESK ALPHABETS
Top to bottom: -point Akzidenz Grotesk Pro regular, italic, and bold
EXAMPLE
-point Akzidenz Grotesk Pro
italic. He completed the series in with light italic,
super italic, and light condensed, among others. Finally
in , Berthold released Akzidenz Grotesk Next,
redrawn by Bernd Moellenstaedt and Dieter Hofrich-
ter, as a single family with characteristics of the original.
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ABCDEFGHIJKLMNOPQ RSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
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Typefaces and Specimens
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Background Traits
Folio was released in Germany at the Bauer Foundry, adding
to the already lengthy collection of sans serif fonts avail-
able to printers and designers. Folio has more in common
with Akzidenz Grotesk () than more popular sans serif
competitors such as Helvetica () and Univers (). Folio
gained more traction in the United States when it was released
because of Bauer’s strong sales and marketing channels.
As an alternative to the more popular Grotesques () to which
designers default, Folio has a smaller x-height, making ascend-
ers appear lengthy. Folio’s Q has a unique tail that drops down
vertically and juts to the side.
Folio
YEAR
ORIGINAL DESIGNERS
Konrad Bauer and
Walter Baum
CLASS
Neo-Grotesque
A designer’s job will become
even more challenging as
the quantity of information
and noise increases during
the twenty-fi rst century.
Those who possess a broad
typographic understanding will
best meet the communicative
and creative challenge,
especially during a time
when people know the
difference between one font
and another—and which
ones read better or worse
with software’s default
120-percen t leading.
ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
abcdefghijklmnopqrstuvwxyz
The quick brown fox jumped over the lazy dog.
ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
abcdefghijklmnopqrstuvwxyz
The quick brown fox jumped over the lazy dog.
ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
abcdefghijklmnopqrstuvwxyz
The quick brown fox jumped over the lazy dog.
SELECTED FOLIO ALPHABETS
Top to bottom: -point Folio light, medium, and bold
EXAMPLE
-point Folio
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