Job:03171 Title:Typography Referenced (Rockport)
Page: 172
ABCDEFGHIJKLMNOPQ RSTUVWXYZ
abcdefg hijklmnopqrstuvwxyz
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Typography, Referenced
Text
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Background Traits
Franklin Gothic has rather subtle transitions from its thick to
thin strokes, giving it a nearly monoline appearance at fi rst
glance. It possesses some humanistic touches too, such as a
curved tail on the Q and a two-storey g, making the font appear
more bookish than other sans serifs.
Franklin Gothic
YEAR

ORIGINAL DESIGNERS
Morris Fuller Benton
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.  ose who
possess a broad typographic
understanding will best meet
the communicative and
creative challenge, especially
during a time when people
know the di erence between
one font and another—and
which ones read better or
worse with so ware’s default
120-percent leading.
ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
abcdefghijklmnopqrstuvwxyz
e quick brown fox jumped over the lazy dog.
ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
abcdefghijklmnopqrstuvwxyz
e quick brown fox jumped over the lazy dog.
ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
abcdefghijklmnopqrstuvwxyz
e quick brown fox jumped over the lazy dog.
SELECTED FRANKLIN GOTHIC ALPHABETS
Top to bottom: -point I Franklin Gothic light, light italic, and bold
EXAMPLE
-point I Franklin Gothic
A popular choice in advertising,  expanded Franklin Gothic
in  when Victor Caruso added new weights. He also
enlarged x-heights and condensed lowercase () forms. A
decade later, David Berlow () developed condensed, com-
pressed, and extra-compressed variations, further enhancing
Franklin Gothic’s versatility and popularity.
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ABCDEFGHIJKLMNOPQRSTUVWXYZ
abc d e fghijklmnopqrstuvwxyz
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Typefaces and Specimens
Text
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Background Traits
Because it was conceived fi rst and foremost for distance
viewing on signage, counterspaces such as those on the c and e
are left open in an exaggerated fashion. Frutiger’s tall x-height
gives it extremely good readability () at small and large
sizes. Like Univers, it uses a numerical coding system: odd
numbers for romans, even numbers for italics.
Frutiger
YEAR

ORIGINAL DESIGNERS
Adrian Frutiger
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 di erence 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 FRUTIGER ALPHABETS
Top to bottom: -point Frutiger Neue LT Pro book, book italic, and bold
EXAMPLE
-point Frutiger Neue LT Pro
Adrian Frutiger () originally designed his sans serif in 
for signage at the Charles de Gaulle Airport in Roissy, France.
Designing during a time when sans serif faces such as Hel-
vetica () and Univers () reached their peak popularity,
Frutiger wanted to deliver a typeface with the mechanical
properties of Univers coupled with subtle humanistic charac-
teristics of a face like Gill Sans ().
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ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmno pqrstuvwxyz
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Typography, Referenced
Text
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Background Traits
Paul Renner () created Futura during a time when designers
emphasized geometry and engineering. Futura’s even stroke
widths and circular shapes mirror the look and feel of Art Deco
() works from the same era.
Futura is not an ideal choice for body text because the o con-
tains such a large counter and creates gaping white circles in
running copy. Unlike most sans serif fonts, Futura has tall
ascenders that creep above the capline. This requires greater
leading for title case and text type () so ascenders do not
hit descenders.
Futura
YEAR

ORIGINAL DESIGNERS
Paul Renner
CLASS
Geometric
A designer’s job will become
even more challenging as the
quantity of information and
noise increases during the
twenty- 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 1234567890
The quick brown fox jumped over the lazy dog.
SELECTED FUTURA ALPHABETS
Top to bottom: -point Futura light, book, and bold
EXAMPLE
-point Futura
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ABCDEFGHIJKLMNOPQRSTUVWXYZ
a bcdefg hijklmnopqrst uvwxyz
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175
Typefaces and Specimens
Text
Job:03171 Title:Typography Referenced (Rockport)
Page: 175
Background Traits
Gill Sans is a hallmark of sans serif typeface design because
it married the organic principles found in serif typography
with the linear and mechanical simplicity of the sans serifs.
Historians have debated whether Eric Gill () created his epon-
ymous font as a tribute to Edward Johnston’s London Railway
font. The two typefaces share many formal attributes, and when
viewed side by side, it’s easy to see why that mythology holds up.
Gill Sans signature letters Q, R, a, g, and t demonstrate how it
has more in common with serif fonts than sans serifs, espe-
cially those from Venetian-inspired foundries that created
calligraphic letters during the fi fteenth century ().
Gill Sans
YEAR

ORIGINAL DESIGNERS
Eric Gill
CLASS
Humanist Sans Serif
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 GILL SANS ALPHABETS
Top to bottom: -point Gill Sans regular, italic, and bold
EXAMPLE
-point Gill Sans
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ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
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Background Traits
Helvetica is a time-tested, reliable choice for designers. It
was released in the 1950s (22) and today is used so much
that people don’t even know what to call it. It has, in essence,
become nameless.
Helvetica
YEAR
1957
ORIGINAL DESIGNERS
Max Miedinger and
Eduoard Hoff man
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-percent leading.
ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
abcdefghijklmnopqrstuvwxyz 1234567890
The quick brown fox jumped over the lazy dog.
ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
abcdefghijklmnopqrstuvwxyz 1234567890
The quick brown fox jumped over the lazy dog.
ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
abcdefghijklmnopqrstuvwxyz 1234567890
The quick brown fox jumped over the lazy dog.
SELECTED HELVETICA ALPHABETS
Top to bottom: 12-point Linotype Helvetica light, regular, and black
EXAMPLE
11-point Linotype Helvetica
While employed at the Haas Type Foundry, Edouard Hoff mann
directed Max Miedinger (96) to render a competitor to H. Ber-
thold AG’s (126) popular Akzidenz Grotesk (170). They called
their typeface Neue Haas Grotesk. In 1960, Linotype (129) and
D. Stempel AG redrew it for the Linotype machine. This coin-
cided with Neue Haas’s renaming, fi rst to Helvetia (Latin
for “Switzerland”) and then to Helvetica (Latin for “Swiss”).
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