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Page: 197
ABCDEFGHIJKLM
NOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
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Typefaces and Specimens
Background Traits
Rudolf Koch (), chief designer at the Klingspor Brothers
Foundry in Off enbach, Germany, named his font in honor of
the foundry’s coowner. Koch employed his calligraphy skills
to design Wilhelm Klingspor Gotisch, which some have
deemed a leading Textura specimen.
Wilhelm Klingspor Gotisch has animated, vigorous, mas-
terfully drawn letterforms with a generous amount of
counterspace. Its narrow lowercase () letters are diffi cult to
read at small sizes, making it preferable for display or titling.
Wilhelm Klingspor
Gotisch
YEAR
ORIGINAL DESIGNERS
Rudolf Koch
CLASS
Fraktur
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.
ABCDEFGHI
JKLMNOPQR
STUVWXYZ
1234567890 abcdefghijk
lmnopqrstuvwxyz
The quick brown fox jumped
over the lazy dog.
SELECTED WILHELM KLINGSPOR GOTISCH ALPHABETS
-point Wilhelm Klingspor Gotisch
EXAMPLE
-point Wilhelm Klingspor Gotisch
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Typography, Referenced
TYPEFACES AND SPECIMENS
Scripts
S
cripts can be elegant in one
font, funky in another. As with
handwriting, they have a wide
range of styles, weights, and
widths, making them one of the more
varied typographic categories.
Scripts owe more to the handwritten
word than the commonly used serif and
sans serif typefaces to which designers
often default. Today’s hand-letter-
ing revival has turned more attention
to scripts, especially when it comes
to custom lettering, prompting many
designers to leave behind the computer
in favor of the brush or pen.
Scripts generally fall into two dis-
tinct categories: fl owing (also called
connected or linked) and nonfl owing
(also called disconnected or unlinked).
Within those categories exist a morass
of subcategories that each break down
into further classes. Many of today’s
script faces come in a variety of alternate
letters, custom ligatures, and swashes.
Typographic standards such as letter
shape and size have compromised some
Je T’aime Sutherland
invite in Sudestada
regular and Phaeton
regular by The White
Room Inc., Canada
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SCRIPT CHARACTERISTICS
Typography
Typograp hy
Flowing Casual (set in Brush
Script): Connected letters,
suitable for nonformal uses
such as signage or display text
Nonfl owing Brush (set in Cascade
Script): Unconnected letters,
with thick strokes reminiscent
of a round or chiseled brush
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Typefaces and Specimens
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Typography
Tpograph
Typography
Typography
Nonfl owing Formal (set in
Monotype Dorchester Script):
Unconnected letters, suitable
for formal uses that call for
professionalism and elegance
Flowing Formal (set in
Bickham Script): Connected
letters, suitable for formal
uses that call for profes-
sionalism and elegance,
more angled posture
Handwritten (set in Texas
Hero): Connected or uncon-
nected, usually modeled
closely after existing hand-
writing or penmanship
Casual Handwritten (set in
Monoline Script): Connected
or unconnected, modeled
after handwriting or
penmanship with many
creative liberties taken
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Typography, Referenced
Letterlab exhibition poster
promotion, Strange Attractors
Design, The Netherlands
of the most unique handwritten char-
acters digitized for mass distribution
and digital use. But thanks to digitiza-
tion and design software, producing
a diverse range of letters has become
more feasible.
Following the less-is-more principle
comes in handy when designing
with scripts. Pairing () script type-
faces with sans serif letters delivers
a balanced combination of elegance
and mechanics, but pairing two scripts
creates the sense that two handwrit-
ten words are competing for attention.
Conscientious kerning () also comes
in handy, especially with fl owing
scripts whose letters connect to one
another to form words. Some scripts
require delicate kerning to make
sure the connections hit just right.
Editor’s note: Most scripts are not for use
in long bodies of text.
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Typefaces and Specimens
Voice design studio
wordmark, Voice, Australia
Still from Typophile
5 video from Studio
, Brent Barson,
United States
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