Job:03171 Title:Typography Referenced (Rockport)
Page: 187
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
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Text
Job:03171 Title:Typography Referenced (Rockport)
Page: 187
Typefaces and Specimens
187
Background Traits
Clarendon () evolved during a time when large type graced
large advertisements, signs, and posters in nineteenth-cen-
tury Great Britian. Under the Ornamental Designs Act of ,
Clarendon was protected, but this lasted only three years, after
which others pirated Robert Besley’s work.
As a bracketed slab serif (), Clarendon lacks the geometric
harshness of unbracketed Egyptian slab serifs such as Rock-
well () or Geometric () slab serifs such as Lubalin Graph.
Although classifi ed as a serif, the Clarendon has enough weight
and character to be used for display type () in headlines or
subheads. The thick, rich, dense, and curvy large ball termi-
nals become objects of aff ection when set in larger sizes.
Clarendon
YEAR
ORIGINAL DESIGNERS
Robert Besley
CLASS
Clarendon Serif
A designer’s job will become
even more challenging as
the quantity of information
and noise increases during
the twenty-fi rst centur y.
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 CLARENDON ALPHABETS
Top to bottom: -point Clarendon light, medium, and bold
EXAMPLE
-point Clarendon
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Job:03171 Title:Typography Referenced (Rockport)
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A BCDEFGHIJKLMNOPQ RSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
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Text
Job:03171 Title:Typography Referenced (Rockport)
Page: 188
188
Typography, Referenced
Background Traits
Rudolf Wolf designed Memphis in for the D. Stempel
foundry as the fi rst Egyptian revival. The letter shapes are
geometric (), with stems and serifs having the same optical
weight. Because of its demonstrative appearance, Memphis
works well as a display face for posters, packaging, advertising,
and headlines.
One of the most noticeable characters in the Memphis reper-
toire is the apex serif on the capital A (the serif at the very top).
The extreme horizontal and unbracketed serif is characteris-
tically slab serif (). But it’s the uppercase () Q that breaks
form with the obtuse angle of its tail. Many of the round shapes
in the Memphis lower- and uppercase letters appear perfectly
round and circular.
Memphis
YEAR
ORIGINAL DESIGNERS
Rudolf Wolf
CLASS
Egyptian
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 MEMPHIS ALPHABETS
Top to bottom: -point Memphis medium, medium italic, and bold
EXAMPLE
-point Memphis
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Job:03171 Title:Typography Referenced (Rockport)
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ABCDEFG HIJ KLMNOPQR STUVWXYZ
a b c d efgh ijklmnopqrstuvwxyz
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Text
Job:03171 Title:Typography Referenced (Rockport)
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Typefaces and Specimens
189
Background Traits
During its initial release in , Offi cina existed as a
paired family of serif and sans serif faces in two weights
with italics, promoted as a functional family for corporate
and business correspondence such as stationery and
annual reports. Over time, the typeface became popular for
other uses, adopted for a slew of advertising and editorial
purposes. Because Offi cina had been pushed beyond its
original intentions, other weights were created including
medium, extra bold, and black, each with matching italics.
Offi cina Serif sets narrower than other slab serifs (), and
therein lies its chief functional benefi t. The near-monoline
letters have unique subtleties such as a bar terminal on its
J (at the top of the letter) and extended bar on the G. Upper-
case () letters such as the R and many of the lowercase ()
letters such as the h, m, and n have half-serifs to help main-
tain an overall light color compared to other slab serifs. And
friendly touches such as curved spurs on the lowercase b and
d (at the bottom of the letters), as well as the curved foot of the
l liken Offi cina Serif to Humanist () sans serifs such as Gill
Sans () and Meta.
Offi cina Serif
YEAR
(with a
revival)
ORIGINAL DESIGNERS
Erik Spiekermann
and Ole Schafer
CLASS
Egyptian
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 OFFICINA SERIF ALPHABETS
Top to bottom: -point Offi cina Serif book, book italic, and bold
EXAMPLE
-point Offi cina Serif
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Job:03171 Title:Typography Referenced (Rockport)
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ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
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Job:03171 Title:Typography Referenced (Rockport)
Page: 190
190
Typography, Referenced
Background Traits
Monotype () issued Frank Pierpont’s Rockwell during a
time when slab serif () typography was undergoing a revival.
Although shown here in two weights, it also has a light version
that further reinforces the typeface’s linear qualities due to its
thinner strokes. Like Memphis (), Rockwell has undergone
a revival on the Web, where designers use it for headlines and
subheads because of its simplicity and easy-to-read geomet-
ric forms.
Like many slab serifs (), Rockwell sets wide, making it less-
than-ideal for large areas of text type (). However, its large
x-height makes it an optimal candidate for signage, wayfi nding,
and display uses. Designers set it with a standard -percent
leading because of its short ascenders and descenders, but
because of its dark typographic color, Rockwell benefi ts from
more leading than that between each line.
Rockwell
YEAR
ORIGINAL DESIGNERS
Frank Pierpont
CLASS
Egyptian
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
The quick brown fox jumped over the lazy dog.
SELECTED ROCKWELL ALPHABETS
Top to bottom: -point Rockwell roman, italic, and bold
EXAMPLE
-point Rockwell
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ABC DEFG HIJKLMNOPQ RSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
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Text
Job:03171 Title:Typography Referenced (Rockport)
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Typefaces and Specimens
191
Background Traits
Serifa’s frequent comparison to Univers () results from
its similarities to Univers’s wide breadth of variations. Also,
updated versions of Serifa include a numbering system like
its brethren. Often called “Univers with serifs,” Serifa was
designed to be as versatile as a sans serif, and it is suitable for
text and display uses.
Serifa’s serif and stroke weight are the same. It has a high
x-height and eccentricities in its C, which does not have a
bottom serif, its G, which has bottom spur, and the
noticeable Q, with its horizontal tail. Some italic versions
are merely slanted.
Serifa
YEAR
ORIGINAL DESIGNERS
Adrian Frutiger
CLASS
Egyptian
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 SERIFA ALPHABETS
Top to bottom: -point Serifa roman, italic, and bold
EXAMPLE
-point Serifa
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