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ABCDEFGHIJKLMNOPQRST UVWXYZ
abcdefghijklmnopqrstuvwxyz
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Typography, Referenced
Text
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Page: 162
Background Traits
In the s, French printers began to adopt the Venetian typo-
graphic traditions, and Frenchman Claude Garamond ()
took notice. Garamond moved away from designing type with
calligraphic evidence and made advances to some of Fran-
cesco Griff o’s () fi rst italic letters. As a punchcutter,
Garamond placed a priority on type design and casting, and
he gained prominence as the founder of one of the fi rst inde-
pendent type foundries. Of the many Garamond revivals and
variations, few come close to the exact specifi cations with
which Garamond, the designer, created his initial typeface,
making some designers skeptical of using this font.
Garamond has been called organic as a type family but
labeled blobby because of the unrefi ned serifs. The subtle
slant to the beaks of Garamond’s T and Z give those
letters a whimsical appearance.
Garamond
YEAR
ORIGINAL DESIGNERS
Claude Garamond
CLASS
Old Style, Garalde
A designer’s job will become
even more challenging as the
quantity of information and noise
increases during the twenty-
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 software’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 GARAMOND ALPHABETS
Top to bottom: -point Adobe Garamond Pro regular, italic, and bold
EXAMPLE
-point Adobe Garamond Pro
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ABCDE FGHIJKL MNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
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Typefaces and Specimens
Text
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Background Traits
Frederic Goudy () designed Goudy for American Type
Founders in . In its lifetime, Goudy has gone through a
number of revivals, thanks in part to the many versions and
variations distributed by font foundries around the world.
Goudy has a gentle-on-the-eye appearance, due in part to
its understated and small serifs. The L, E, and Q all have
curvilinear shapes, and the P does not fully close at the stem,
giving it an open quality. Because of the low x-height, Goudy
sets best as text type () at sizes greater than point, but
even then, its italic can appear small and light.
Goudy
YEAR
ORIGINAL DESIGNERS
Frederic Goudy
CLASS
Old Style, Garalde
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 GOUDY ALPHABETS
Top to bottom: -point Adobe Goudy Old Style roman, italic, and bold
EXAMPLE
-point Adobe Goudy Old Style
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ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
5 6 9
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Typography, Referenced
Text
Job:03171 Title:Typography Referenced (Rockport)
Page: 164
Background Traits
Jan Tschichold () designed Sabon in for D. Stempel
, Linotype (), and Monotype () foundries for German
printers who wanted a “Garamondesque” typeface.
Tschichold based his design on a specimen sheet from the
Egenolff -Berner foundry, and named the typeface after Jakob
Sabon, a student of Claude Garamond (). Sabon remains a
mainstay in book design because of its readability () and
what First Lady of Typography Beatrice Warde would call
“transparent” properties.
The very open counters make Sabon airy, but the 5, 6, and 9
numerals are somewhat attention-grabbing because of their
posture; they don’t look like these same numerals from
other typefaces. Like many Old Style () serifs, Sabon has
been deemed reliable because of its time-tested usage and
breadth of variations.
Sabon
YEAR
ORIGINAL DESIGNERS
Jan Tschichold
CLASS
Old Style, Garalde
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 SABON ALPHABETS
Top to bottom: -point Linotype Sabon roman, italic, and bold
EXAMPLE
-point Linotype Sabon
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ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
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Typefaces and Specimens
Text
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Background
Traits
The Times of London commissioned Stanley Morison () to
direct production of a new typeface for the newspaper. Victor
Lardent took the lead as draftsman, and based its formal qual-
ities on Plantin by Robert Granjon (). In , Times made its
debut, but the story of its origins remains a hotly debated topic
to this day. Mike Parker, the type historian and director of
typographic development at Mergenthaler Linotype Co. during
the s () and s (), found diff ering information.
In the article “W. Starling Burgess, Type designer?” Parker
reported that in , Starling Burgess, a Boston aeronautical
engineer and naval architect, designed for the Lanston Type
Company the roman version that preceded Morison’s design.
Times New Roman has become a pervasive font thanks to
its placement on both PCs and Macintosh computers, as well
as in Microsoft’s Offi ce product suite. But this popularity
can’t overshadow the fact that Times is a highly readable
() choice for text type (), used in millions of educational,
commercial, fi nancial, and personal documents.
Times
YEAR
ORIGINAL DESIGNERS
Stanley Morison and
Victor Lardent
CLASS
Old Style, Garalde
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 TIMES NEW ROMAN ALPHABETS
Top to bottom: -point Times New Roman regular, italic, and bold
EXAMPLE
-point Times New Roman
Burgess’s renderings wound up in Monotype’s () London
archives. Frank Hinman Pierpont produced what later became
known as Times New Roman.
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Text
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166
Typography, Referenced
TYPEFACES AND SPECIMENS
Sans Serif
S
ans serif typefaces came about long
after many serif fonts populated Eastern
Europe, British colonies, and fi nally the
United States. William Caslon IV has been
credited with creating the fi rst sans serif type, in
. Caslon called it an Egyptian typeface; its
angular appearance was met with skepticism. It
quickly became known as grotesque in Europe,
gothic in the United States, and fi nally sans syrruph
in by English typographer Vincent Figgins.
Besides the popular sans serif moniker, labels
such as Gothic, Modernist, and Lineal persevere
today. Jan Tschichold () championed the sole use
of sans serif typefaces during the s (), when
most designers were focused on function instead
of decoration. This preference continued into the
mid twentieth century () when proponents
of the Swiss International Style put more emphasis
on strict composition with sans serif
typefaces and gridded () layout systems.
Despite similarities in appearance, sans serif
typefaces have subclassifi cations that include
Humanist (), Grotesque (), Neo-Grotesque, and
Geometric (). Akzidenz Grotesk () and its
mechanical structure exemplify the Neo-Grotesques
in contrast to the Grotesques, which possess pen-
drawn characteristics and rather slight contrast ()
of thick and thin strokes. Geometric sans serifs such
as Futura () and Kabel () appear produced with
merely a compass, ruler, and protractor. Humanist
sans serifs owe as much to the calligraphic traits of
fi fteenth-century serifs as they do to their Grotesque
and Neo-Grotesque brethren.
Kelly Salchow MacArthur’s sustainable
values poster “ Decisions”
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