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T Y P E<br />
SPECI—<br />
MEN<br />
BOOK<br />
NARRATIVE<br />
2 ARTICLES<br />
BY ILLENE STRIZVER<br />
SPECIMEN<br />
17 TYPE<br />
SPECIMEN
O<br />
ARRANGING LOWER CASE<br />
01 LETTERS BY ILENE STRIZVER 89<br />
6 TYPOGRAPHY TERMS THAT<br />
GET CONFUSED A LOT<br />
BY ILENE STRIZVER<br />
Aa Aa Aa<br />
17 21<br />
DESIGNER: WILLIAM CASLON<br />
DESIGNER: CLAUDE GARAMON,<br />
25<br />
DESIGN DATE: 1905<br />
DESIGN DATE: 1592<br />
CASLON GARAMOND HOEFLER TEXT<br />
DESIGNER: JONATHAN HOEFLER<br />
DESIGN DATE: 1991<br />
CLASSIFICATION: OLD STYLE<br />
CLASSIFICATION: OLD STYLE<br />
CLASSIFICATION: OLD STYLE<br />
N
N<br />
T<br />
Aa Aa Aa<br />
29 DESIGNER: JOHN BASKERVILLE 33 DESIGNER: ERIC GILL 37<br />
DESIGN DATE: 1757<br />
DESIGN DATE: 1929<br />
BASKERVILLE PERPETUA JANSON<br />
DESIGNER: MIKLÓS TÓTFALUSI KIS<br />
DATE: 1985<br />
CLASSIFICATION: TRANSITIONAL<br />
CLASSIFICATION: TRANSITIONAL<br />
CLASSIFICATION: TRANSITIONAL<br />
Aa Aa Aa<br />
41 45 49<br />
BODONI DIDOT MONOTYPE MODERN<br />
DESIGNERS: GIAMBATTISTA<br />
CLASSIFICATION: MODERN<br />
DESIGNER: FIRMIN DIDOT<br />
BODONI, MORRIS FULLER BENTON<br />
DESIGN DATE: 1783<br />
DESIGN DATE: 1908-1915<br />
CLASSIFICATION: MODERN<br />
DESIGNERS: MONOTYPE STAFF<br />
DESIGN DATE: 1896<br />
CLASSIFICATION: MODERN<br />
T<br />
S
O<br />
Aa<br />
CLARENDON<br />
53<br />
DESIGNER: HERMANN EIDENBEN<br />
57<br />
DESIGN DATE: 1845<br />
CLASSIFICATION: SLAB SERIF<br />
Aa<br />
GLYPHA<br />
DESIGNER: ADRIAN FRUTIGER<br />
DESIGN DATE: 1977<br />
CLASSIFICATION: SLAB SERIF<br />
61<br />
Aa<br />
MEMPHIS<br />
DESIGNER: RUDOLF WOLF<br />
DESIGN DATE: 1929<br />
CLASSIFICATION: SLAB SERIF<br />
65<br />
Aa<br />
LUBALIN GRAPH<br />
DESIGNER: HERB LUBALIN<br />
DESIGN DATE: 1974<br />
CLASSIFICATION: SLAB SERIF<br />
N
N<br />
T<br />
71<br />
Aa<br />
AVENIR<br />
DESIGNER: ADRIAN FRUTIGER<br />
DESIGN DATE: 1988<br />
CLASSIFICATION: SANS SERIF<br />
Aa<br />
CENTURY GOTHIC<br />
75<br />
DESIGNERS: MONOTYPE STAFF<br />
79<br />
DESIGN DATE: 1990<br />
CLASSIFICATION: SANS SERIF<br />
Aa<br />
FUTURA<br />
DESIGNER: PAUL RENNER<br />
DESIGN DATE: 1932<br />
CLASSIFICATION: SANS SERIF<br />
T<br />
85<br />
Aa<br />
NEWS GOTHIC<br />
DESIGNER: MORRIS FULLER BENTON<br />
DESIGN DATE: 1908<br />
CLASSIFICATION: SANS SERIF<br />
S
1 ARRANGING LOWER CASE LETTERS | ILENE STRIZVER
y Ilene Strizver<br />
OLD STYLE 02
mimi mimi<br />
Somewhat too tight<br />
Rythmically correct<br />
unworthy unworthy<br />
Too close. The w makes holes<br />
Correct. Rythmically perfect<br />
It is generally assumed that it is simple to put lower<br />
case letters together. This overlooks the fact that<br />
lower case also have some open characters (k, r, t, v,<br />
w, x, y, z) and that they too contain the o which so<br />
often makes a hole in the line. Furthermore, we are<br />
too conditioned by the low level of lettering that<br />
surrounds us to be aware of the faults of most lower<br />
case word images, even the printed ones.<br />
If one takes the trouble to investigate why today’s<br />
lettering does not look as well as the most perfect of<br />
past lettering specimens, he will find that the past<br />
used a different rhythm. The lower case letters were<br />
not as crowded together as they are today.<br />
The old lettering master followed the rule that<br />
all the basic strokes of a word should be spaced at<br />
approximately equal distance. This rule is disregarded<br />
today; lower case letters are pushed together.<br />
This is why much lettering and even the better typefaces<br />
look deficient. The old rule, however, is still<br />
valid. Only if it is observed will the letters k, r, t, v,<br />
w, x, y, and z cease to create gaps in the word image,<br />
and the letters b, d, o, p and q cease to make holes.<br />
T<br />
L<br />
M<br />
F<br />
R<br />
A<br />
S<br />
W<br />
B<br />
A<br />
E<br />
—<br />
D<br />
03 ARRANGING LOWER CASE LETTERS | ILENE STRIZVER
HE OLD<br />
ETTERING<br />
ASTER<br />
OLLOWED THE<br />
U LE THAT<br />
LL THE BASIC<br />
TROKES OF A<br />
ORD SHOULD<br />
E SPACED AT<br />
PPROXIMATELY<br />
QUAL DISTANCE.<br />
THIS RULE IS<br />
ISREGARDED<br />
OLD STYLE 04
forma virgultu<br />
forma virgultum<br />
05 ARRANGING LOWER CASE LETTERS | ILENE STRIZVER
m brachium<br />
brachium<br />
The upper line shows some words of the specimen of Claude<br />
Garamond’s types published in 1592. The lower line shows a<br />
modern Garamond. Note the perfect rhythm of the genuine<br />
Garamond. The later letters are too close together causing gaps<br />
after r and b, and generally lack the evenness of the older form.<br />
The rhythm and form of the original make it incomparably<br />
superior to the modern one.<br />
06
HE<br />
HARACTERISTIC<br />
ORM OF THE<br />
OWER CASE<br />
ORDS MAKES<br />
HEM FAR EASIER<br />
O PERCEIVE<br />
HAN WORDS<br />
ETTERED IN<br />
APITALS<br />
We learned that, if the architecture calls for it, capital<br />
letters may be letter spaced more widely than<br />
the rule demands. This is not true of lower case<br />
letters. There should be no letter spacing of lower<br />
case letters. They should be arranged only in their<br />
normal fitting. This prohibition is based on the<br />
fact that lower case letters have a mote irregular<br />
outline than capital letters. In addition to characters<br />
of the normal height of n, there are also letters<br />
with ascenders (b, d, f, h, k, 1) and descenders (g, j,<br />
p, q, y), and the t which has a short point on top.<br />
This gives the word image of lower case letters a<br />
characteristic form which the words of capitals<br />
lack. Capitals always form a square, only rarely<br />
enlivened by the tail of a Q or an accent. The<br />
characteristic form of the lower case words makes<br />
them far easier to perceive than words lettered in<br />
capitals. Nevertheless, lower case words are rarely<br />
suitable on buildings. What matters here is not the<br />
speed of comprehension but the harmony of the<br />
facade. This, by its very nature, calls for architectural<br />
letters rather than those which derive from<br />
calligraphy as the lower case letters do.<br />
07 ARRANGING LOWER CASE LETTERS | ILENE STRIZVER
unworthy<br />
Satisfactory<br />
unworthy<br />
Unsatisfactory<br />
The top word shows the correct rhythm of lower case<br />
letters. The word at bottom is letter spaced hence<br />
difficult to read. In single lines letter spacing of lower<br />
case letters is questionable; if more than one line is<br />
involved, letter spacing of lower case letters is wrong.<br />
08
nhmur<br />
nhmur<br />
quer auer gala<br />
quer auer gala<br />
quer auer gala<br />
09 ARRANGING LOWER CASE LETTERS | ILENE STRIZVER
pq<br />
pq<br />
pagos<br />
pagos<br />
pagos<br />
Lower case letters were originally a calligraphic<br />
form, written with a pen. Since this form has<br />
long been fixed and is unchangeable, attempts<br />
to change the calligraphic character in favor of a<br />
constructed one will never succeed. Take a look<br />
at the n starts, as written with a broad pen, a little<br />
under the upper line of the letter. That is why<br />
the forms of the n, h, m, u, r, p and q are never<br />
quite satisfactory in sans serif letters. In roman<br />
alphabets the beginning and endings of these<br />
letters are thin because the upward stroke of the<br />
broad pen made them so. In sans serifs they must<br />
be thick. This leads to thickenings which only<br />
masters can make relatively inconspicuous.<br />
Lower case letters are suitable only for independent<br />
signs and longer texts. There they are welcome<br />
so that the content can be quickly grasped.<br />
Lower case words impress the mind with their<br />
total silhouette while capitals are mentally spelled<br />
out letter by letter.<br />
But it is not only the silhouette we read. It can<br />
easily be proven that the eye grasps the upper half<br />
of the word image. It is far more important than<br />
the lower half. The following example shows that<br />
we cannot easily decipher the lower half of a word<br />
if we cover the upper half. But we can read the<br />
upper half relatively well if the lower half is cut<br />
away. This furnishes a good test for the relative<br />
legibility of roman and sans serif letters. What<br />
we read are the characteristic features of a letter,<br />
not what all the characters of the alphabet have<br />
in common. That is why a good letter must clearly<br />
show its distinguishing features.<br />
10
ONG TEXTS OF<br />
ANS SERIFS ARE<br />
ARD TO READ,<br />
T ANY RATE,<br />
ND THE LACK OF<br />
ISTINCTION OF<br />
HE SEEMINGLY<br />
MODERN” A AND<br />
INCREASES<br />
HIS DIFFICULTY.<br />
11 TYPE SPECIMEN BOOK |
A beautifully letter must naturally have unity<br />
of form. It must, for instance, have the same<br />
thickness of the basic strokes, of serifs, of<br />
related curves, and so forth. But if the number<br />
of these form elements is excessively reduced,<br />
as happens when the characteristic features<br />
are suppressed, legibility is threatened. The a<br />
and g of some sans serifs and Egyptians, which,<br />
in the manner of the italics of type styles that<br />
have serifs (a and g), are designed as a and g,<br />
reduce the legibility of the word image. They<br />
are falsely considered up-to-date. Viewed by<br />
themselves they may seem "simpler." than the<br />
forms a and g, but that is not the point. The<br />
primary purpose of a letter is not simplicity<br />
but legibility. And a and g are less intelligible.<br />
The upper half of a and g are identical and,<br />
furthermore, the same as that of q. We thus<br />
have three letters with the same upper half.<br />
No two characters of the roman alphabet<br />
have an upper half of the same shape, which is<br />
what makes them legible. If there are suddenly<br />
three different, important characters with the<br />
same upper half, the word images are bound to<br />
become more blurred than normal word images<br />
whose upper halves are distinct and different.<br />
The use of a and g in sans serif, roman or<br />
Egyptian letters is, therefore, a poor innovation.<br />
This can be demonstrated with several words.<br />
Long texts of sans serifs are hard to read, at any<br />
rate, and the lack of distinction of the seemingly<br />
“modern” a and g increases this difficulty.<br />
12
quer auer gala<br />
quer auer gala<br />
quer auer gala<br />
quer auer gala<br />
13 ARRANGING LOWER CASE LETTERS | ILENE STRIZVER
pagos<br />
pagos<br />
pagos<br />
pagos<br />
Sans Serif and Egyptian letters with the a and<br />
g seem more decorative than the same letters<br />
with a correct a and g, because they contain<br />
more circular openings. The frequent repetition<br />
of the circular element makes a line of these<br />
letters decorative than that of other faces. But<br />
the decorative value is achieved at the expense<br />
of readability, just as the Textur with its distinct<br />
fracture of all details, results in a band of lettering<br />
that is highly decorative but hard to read. I<br />
therefore prefer the sans serif a and g designed<br />
by Eric Gill which derives from the classic form<br />
of the oldstyle. Gill’s emulation of oldstyle forms<br />
is also evident in his improved articulation of the<br />
characters b, j, s, t, u and J, Q, S, and G. The capitals<br />
are borrowed from the Roman inscriptions<br />
and the endings of C, G, J and S are uniform as<br />
in the Roman letters.<br />
14
Old and New<br />
Unsatisfactory<br />
Old and New<br />
Satisfactory<br />
WORD<br />
SPACING IN<br />
LOWER CASE<br />
LINES<br />
Word spacing in lower case lines is more often<br />
too large rather than too small. Since the<br />
lower case letters do not feature openings as<br />
large as those in capitals, the word spacing<br />
should also be relatively smaller. In lines of<br />
lower case character of average width, the<br />
measurable distance between two words<br />
should be about twice as wide as a third of<br />
the height of the n. An o at the beginning of a<br />
word demands a somewhat smaller word space<br />
than n. In all of this, it is the optical space<br />
value that matters.<br />
In condensed letters, the word spacing may<br />
even be smaller. In very extended letters it<br />
should be a little larger.<br />
15 ARRANGING LOWER CASE LETTERS | ILENE STRIZVER
allegory<br />
allegory<br />
Descenders of correct length.<br />
Stunted descenders.<br />
Industrial Department<br />
Main Entrance<br />
Correct word and line spacing.<br />
Industrial Department<br />
Main Entrance<br />
The word spacing is too large.<br />
The arrangement falls apart.<br />
LINE SPACING<br />
OF LOWER CASE<br />
LETTERS<br />
Lower case letters have four guidelines.<br />
The space between two inner ones is called<br />
the n height. The line of which the n rests is<br />
called the base line. The uppermost guideline<br />
determines the limit of the ascenders<br />
(although not necessarily the upper limit of<br />
the capital); the lowest line determines the<br />
lowest pint of the descenders. Well-formed<br />
descenders contribute as much to legibility<br />
as the ascenders. In some recent letters these<br />
descenders are inappropriately shortened.<br />
They seem weak, timid and unclear.<br />
The smallest line spacing is that in which<br />
the descenders of the upper line touch the<br />
ascenders of the line below. The danger of<br />
this actually accusing is small. However,<br />
such close line spacing is rarely in order.<br />
If the previously stated rule regarding word<br />
spacing is followed, word spacing will be<br />
considerably smaller than line spacing. This<br />
is necessary, for a letter arrangement in<br />
which the word spaces are as large or even<br />
larger than the line spaces is hard to read<br />
and seems disorderly.<br />
16
17 TYPE SPECIMEN BOOK |
OLD STYLE 18
Regular<br />
Semi-Bold<br />
Bold<br />
+<br />
Italic<br />
19 TYPE SPECIMEN BOOK |<br />
Aa<br />
Bb
Aa<br />
Caslon Regular<br />
10pt/16pt<br />
The Englishman William Caslon (1672–1766) first cut his typeface Caslon in 1725. His<br />
major influences were the Dutch designers Christoffel van Dijcks and Dirck Voskens.<br />
The Caslon font was long known as the script of kings, although on the other side of the<br />
political spectrum, the Americans used it as well for their Declaration of Independence.<br />
Aa<br />
Caslon Semi-Bold<br />
14pt/20pt<br />
Aa<br />
Caslon Bold<br />
22pt/26pt<br />
Aa<br />
Caslon Italic<br />
28pt/32pt<br />
The Englishman William Caslon (1672–1766) first cut his<br />
typeface Caslon in 1725. His major influences were the Dutch<br />
designers Christoffel van Dijcks and Dirck Voskens. The<br />
Caslon font was long known as the script of kings, although on<br />
the other side of the political spectrum, the Americans used it<br />
as well for their Declaration of Independence.<br />
The Englishman William Caslon<br />
(1672–1766) first cut his typeface<br />
Caslon in 1725. His major influences<br />
were the Dutch designers Christoffel<br />
van Dijcks and Dirck Voskens...<br />
The Englishman William Caslon<br />
(1672–1766) first cut his typeface<br />
Caslon in 1725. His major influences<br />
were the Dutch designers Christoffel<br />
van Dijcks and Dirck Voskens...<br />
OLD STYLE 20
21 TYPE SPECIMEN BOOK |
garamond<br />
OLD STYLE 22
Aa<br />
Garamond Italic<br />
42pt/48pt<br />
Garamond is Michelangelo's David to th<br />
type world. It is a timeless masterpiece cre<br />
ated by a classical craftsman and to this<br />
day is a cherished piece of history. Even in<br />
today's digital forms, Garamond evokes<br />
the hand. It puckers and bloats in delicat<br />
ways like ink swelling within paper fibers<br />
23 TYPE SPECIMEN BOOK | GARAMOND
Aa<br />
Garamond Regular<br />
14pt/18pt<br />
Aa<br />
Garamond Regular<br />
24pt/32pt<br />
Aa<br />
Garamond Regular<br />
32pt/32pt<br />
abcdefghijklmnopqrstuvwxyz<br />
ABCDEFGHIJKLMNOPQRSTUVWXYZ<br />
1234567890!&%#$?+()*;/<br />
abcdefghijklmnopqrstuvwxyz<br />
ABCDEFGHIJKLM<br />
NOPQRSTUVWXYZ<br />
1234567890!&%#$?+()*;/<br />
abcdefghijklm<br />
nopqrstuvwxyz<br />
ABCDEFGHIJKLM<br />
NOPQRSTUVWXYZ<br />
1234567890<br />
!&%#$?+()*;/<br />
OLD STYLE 24
25 TYPE SPECIMEN BOOK |
hoefler<br />
text<br />
OLD STYLE 26
ijklmn<br />
pqrstu<br />
wxyz<br />
bcdefg<br />
27 TYPE SPECIMEN BOOK |
Aa<br />
Hoefler Text Regular<br />
9pt/14pt<br />
Hoefler Text’s steadfast agenda sparked the interest of developers at Apple, where a fledgling techn<br />
“True<strong>Type</strong> GX” was being created with the goal of making fine typography not only available to eve<br />
effortless to use. Apple commissioned us to further expand the fonts, and licensed Hoefler Text for<br />
in System 7, the Macintosh operating system. While GX never emerged as a viable font format for d<br />
Aa<br />
Hoefler Text Italic<br />
12pt/16pt<br />
Aa<br />
Hoefler Text Bold<br />
20pt/24pt<br />
Aa<br />
Hoefler Text Black<br />
28pt/32pt<br />
Hoefler Text’s steadfast agenda sparked the interest of developers at Apple, where a f<br />
technology called “True<strong>Type</strong> GX” was being created with the goal of making fine typ<br />
available to everyone, but effortless to use. Apple commissioned us to further expand<br />
licensed Hoefler Text for inclusion in System 7, the Macintosh operating system. Whi<br />
emerged as a viable font format for designers, it did fulfill its original promise of tur<br />
Hoefler Text’s steadfast agenda sparked th<br />
interest of developers at Apple, where a fle<br />
technology called “True<strong>Type</strong> GX” was bein<br />
created with the goal of making fine typog<br />
not only available to everyone, but effortle<br />
Hoefler Text’s steadfast agen<br />
sparked the interest of devel<br />
Apple, where a fledgling tech<br />
called “True<strong>Type</strong> GX” was b<br />
created with the goal of mak<br />
typography not only availabl<br />
OLD STYLE 28
29 TYPE SPECIMEN BOOK |<br />
baske
ville<br />
OLD STYLE 30
Baskerville b b b<br />
Regular Baskerville Italic Baskerville Semi Bold Baskerville Bold<br />
31 TYPE SPECIMEN BOOK | BASKERVILLE
Aa<br />
Baskerville Regular<br />
9pt/13pt<br />
In 1757 designed by John Baskerville as his reaction to improving the Caslon typeface<br />
Baskerville remains metaphoric of the transitional period [between the Old Style and<br />
Modern]. He practiced designing typefaces with higher contrast strokes and geometric<br />
letterforms which were less influenced by its more humanist cousin Caslon.<br />
Aa<br />
Baskerville Italic<br />
14pt/20pt<br />
Aa<br />
Baskerville SemiBold<br />
20pt/24pt<br />
Aa<br />
Baskerville Bold<br />
32pt/34pt<br />
In 1757 designed by John Baskerville as his reaction to improving<br />
the Caslon typeface Baskerville remains metaphoric of the transitional<br />
period [between the Old Style and Modern]. He practiced designing<br />
typefaces with higher contrast strokes and geometric letterforms which<br />
were less influenced by its more humanist cousin Caslon.<br />
In 1757 designed by John Baskerville<br />
as his reaction to improving the<br />
Caslon typeface Baskerville remains<br />
metaphoric of the transitional period<br />
[between the Old Style and Modern]...<br />
In 1757 designed by<br />
John Baskerville as his<br />
reaction to improving<br />
the Caslon typeface<br />
Baskerville remains...<br />
TRANSITIONAL 32
33 TYPE SPECIMEN BOOK |
perpetua<br />
OLD STYLE 34
a Bb Cc Dd Ee<br />
f Gg Hh Ii Jj<br />
k Ll Mm Nn Oo Pp<br />
q Rr Ss Tt Uu<br />
35 TYPE SPECIMEN BOOK |
v Ww Xx Yy Zz<br />
Aa<br />
Perpetua Regular<br />
9pt/12pt<br />
Aa<br />
Perpetua Italic<br />
16pt/20pt<br />
Aa<br />
Perpetua Bold<br />
26pt/28pt<br />
<strong>Type</strong> designer Eric Gill’s most popular Roman typeface is Perpetua, which was released<br />
by the Monotype Corporation between 1925 and 1932. It first appeared in a limited<br />
edition of the book The Passion of Perpetua and Felicity, for which the typeface was<br />
named. The italic form was originally called Felicity. Perpetua’s clean chiseled look<br />
recalls Gill’s stonecutting work and makes it an excellent text typeface, giving sparkle to<br />
long passages of text; the Perpetua capitals have beautiful, classical lines that make this<br />
one of the finest display alphabets available.<br />
<strong>Type</strong> designer Eric Gill’s most popular Roman typeface is<br />
Perpetua, which was released by the Monotype Corporation<br />
between 1925 and 1932. It first appeared in a limited edition<br />
of the book The Passion of Perpetua and Felicity, for which<br />
the typeface was named. The italic form was originally called<br />
Felicity. Perpetua’s clean chiseled look recalls Gill’s stonecutting<br />
work and makes it an excellent text typeface, giving sparkle...<br />
<strong>Type</strong> designer Eric Gill’s most<br />
popular Roman typeface is<br />
Perpetua, which was released<br />
by the Monotype Corporation<br />
between 1925 and 1932. It first<br />
appeared in a limited edition<br />
of the book The Passion of...<br />
TRANSITIONAL 36
37 TYPE SPECIMEN BOOK |<br />
janson
abcdefghijklmnopqrstuvwxyzOLD<br />
STYLE 38
an<br />
Aa<br />
Janson 55 Roman<br />
12pt/16pt<br />
Aa<br />
Janson 56 Italic<br />
12pt/16pt<br />
abcdefghijklmnopqrstuvwxyz<br />
ABCDEFGHIJKLM<br />
NOPQRSTUVWXYZ<br />
1234567890!&%#$?+()*;/<br />
abcdefghijklmnopqrstuvwxyz<br />
ABCDEFGHIJKLM<br />
NOPQRSTUVWXYZ<br />
1234567890!&%#$?+()*;/<br />
Aa<br />
Janson 75 Bold<br />
12pt/16pt<br />
abcdefghijklmnopqrstuvwxyz<br />
ABCDEFGHIJKLM<br />
NOPQRSTUVWXYZ<br />
1234567890!&%#$?+()*;/<br />
Aa<br />
Janson 76 Bold Italic<br />
12pt/16pt<br />
abcdefghijklmnopqrstuvwxyz<br />
ABCDEFGHIJKLM<br />
NOPQRSTUVWXYZ<br />
1234567890!&%#$?+()*;/<br />
Italic<br />
39 TYPE SPECIMEN BOOK | JANSON
55 Rom<br />
56 Italic<br />
75 Bold<br />
76 Bold<br />
TRANSITIONAL 40
41 TYPE SPECIMEN BOOK |<br />
bodoni
OLD STYLE 42
aBodoni aaa Book Bodoni Roman Bodoni Italic Bodoni Bold<br />
43 TYPE SPECIMEN BOOK | BODONI
Aa<br />
Bodoni Book<br />
24pt/28pt<br />
Aa<br />
Bodoni Roman<br />
34pt/38pt<br />
Aa<br />
Bodoni Italic<br />
48pt/52pt<br />
Aa<br />
Bodoni Bold<br />
62pt/68pt<br />
abcdefghijklmnopqrstuvwxyz<br />
ABCDEFGHIJKLMNOPQRSTUVWXY<br />
1234567890!&%#$?+()*;/<br />
abcdefghijklmnopqrstuvw<br />
ABCDEFGHIJKLMNOPQ<br />
1234567890!&%#$?+()*;/<br />
abcdefghijklmnopq<br />
ABCDEFGHIJKLM<br />
1234567890!&%#$<br />
abcdefghijklm<br />
ABCDEFGHIJ<br />
1234567890!<br />
MODERN 44
45 TYPE SPECIMEN BOOK |<br />
didot
OLD STYLE 46
Aa<br />
Didot Regular<br />
14pt/18pt<br />
Aa<br />
Didot Italic<br />
24pt/28pt<br />
Aa<br />
Didot Bold<br />
32pt/36pt<br />
abcdefghijklmnopqrstuvwxyz<br />
ABCDEFGHIJKLMNOPQRSTUVWXYZ<br />
1234567890!&%#$?+()*;/<br />
abcdefghijklmnopqrstuvwxyz<br />
ABCDEFGHIJKLM<br />
NOPQRSTUVWXYZ<br />
1234567890!&%#$?+()*;/<br />
abcdefghijklm<br />
nopqrstuvwxyz<br />
ABCDEFGHIJKLM<br />
NOPQRSTUVWXYZ<br />
1234567890<br />
!&%#$?+()*;/<br />
47 TYPE SPECIMEN BOOK | DIDOT
The strong clear forms of this alphabet display<br />
objective, rational characteristics and are<br />
representative of the time and philosophy of the<br />
Enlightenment. Adrian Frutiger’s Didot is a<br />
sensitive interpretation of the French Modern<br />
Face Didot. Another model for this design is the<br />
Henriade, an historical printing of the original<br />
Didot from 1818. The font Didot gives text a<br />
classic and elegant feel.<br />
Regular<br />
Bold<br />
+<br />
Italic<br />
OLD STYLE 48
49 TYPE SPECIMEN BOOK |
monotype<br />
modern<br />
OLD STYLE 50
ABCDEFGHI<br />
JKLMNOPQR<br />
STUVWXYZ<br />
abcdefghi<br />
jklmnopqr<br />
s t u v w x y z<br />
51 TYPE SPECIMEN BOOK |
Aa<br />
Monotype Modern Condensed<br />
13pt/18pt<br />
Aa<br />
Monotype Modern Extended<br />
16pt/22pt<br />
Aa<br />
Monotype Modern Bold<br />
21pt/26pt<br />
Aa<br />
Monotype Modern Wide<br />
28pt/34pt<br />
Monotype Modern, the first typeface produced by Lanston Monotype, was rele<br />
1896, the same year the company introduced its hot metal typeseting machine<br />
Victorian variation on the vertically stressed, high-contrast Bodoni model.<br />
Monotype Modern, the first typeface produced by Lanst<br />
Monotype, was released in 1896, the same year the comp<br />
introduced its hot metal typeseting machine. It is a Vict<br />
variation on the vertically stressed, high-contrast Bodo<br />
Monotype Modern, the first typeface produc<br />
by Lanston Monotype, was released in 1896<br />
same year the company introduced its hot m<br />
typeseting machine. It is a Victorian variati<br />
the vertically stressed, high-contrast Bodon<br />
Monotype Modern, the first<br />
typeface produced by Lanst<br />
Monotype, was released in 1<br />
same year the company intr<br />
its hot metal typeseting mac<br />
It is a Victorian variation on<br />
MODERN 52
53 TYPE SPECIMEN BOOK |<br />
claren
don<br />
OLD STYLE 54
Aa<br />
Clarendon Light<br />
12pt/16pt<br />
Aa<br />
Clarendon Roman<br />
20pt/26pt<br />
Aa<br />
Clarendon Bold<br />
28pt/32pt<br />
abcdefghijklmnopqrstuvwxyz<br />
ABCDEFGHIJKLMNOPQRSTUVWXYZ<br />
1234567890!&%#$?+()*;/<br />
abcdefghijklmnopqrstuvwxyz<br />
ABCDEFGHIJKLM<br />
NOPQRSTUVWXYZ<br />
1234567890!&%#$?+()*;/<br />
abcdefghijklm<br />
nopqrstuvwxyz<br />
ABCDEFGHIJKLM<br />
NOPQRSTUVWXYZ<br />
1234567890<br />
!&%#$?+()*;/<br />
I<br />
a<br />
P<br />
T<br />
r<br />
M<br />
i<br />
r<br />
E<br />
i<br />
55 TYPE SPECIMEN BOOK | CLARENDON
t was named<br />
fter the Clarendon<br />
ress in Oxford.<br />
he typeface was<br />
eworked by the<br />
onotype foundry<br />
n 1935. It was<br />
evised by Hermann<br />
idenbenz<br />
n 1953.<br />
OLD STYLE 56
57 TYPE SPECIMEN BOOK |<br />
glyph
a<br />
OLD STYLE 58
Aa<br />
Glypha 35 Thin<br />
12pt/16pt<br />
abcdefghijklmnopqrstuvwxyz<br />
ABCDEFGHIJKLMNOPQRSTUVWXYZ<br />
1234567890!&%#$?+()*;/<br />
k<br />
n<br />
Aa<br />
Glypha 45 Light<br />
12pt/16pt<br />
Aa<br />
Glypha 55 Roman<br />
12pt/16pt<br />
Aa<br />
Glypha 65 Bold<br />
12pt/16pt<br />
Aa<br />
Glypha 75 Black<br />
12pt/16pt<br />
abcdefghijklmnopqrstuvwxyz<br />
ABCDEFGHIJKLMNOPQRSTUVWXYZ<br />
1234567890!&%#$?+()*;/<br />
abcdefghijklmnopqrstuvwxyz<br />
ABCDEFGHIJKLMNOPQRSTUVWXYZ<br />
1234567890!&%#$?+()*;/<br />
abcdefghijklmnopqrstuvwxyz<br />
ABCDEFGHIJKLMNOPQRSTUVWXYZ<br />
1234567890!&%#$?+()*;/<br />
abcdefghijklmnopqrstuvwxyz<br />
ABCDEFGHIJKLMNOPQRSTUVWXYZ<br />
1234567890!&%#$?+()*;/<br />
59 TYPE SPECIMEN BOOK | GLYPHA
35 Thin<br />
45 Light<br />
55 Roma<br />
65 Bold<br />
75 Blac<br />
SLAB SERIF 60
61 TYPE SPECIMEN BOOK |<br />
memph
is<br />
OLD STYLE 62
123<br />
abcdefghijklm<br />
nopqrstuvwxyz<br />
ABCDEFGHIJKLM<br />
NOPQRSTUVWXYZ
Aa<br />
of the geometric basis of its forms, Memphis is often though<br />
a font for technical fields, making a rational, purposeful impression.<br />
Memphis Light<br />
emphasis on objectivity is well-suited to technical texts, but Memphis<br />
7pt/12pt<br />
appropriate for any text which should exhibit a clear, neutral charac<br />
567Because<br />
Aa<br />
Memphis Medium<br />
12pt/16pt<br />
Aa<br />
Memphis Bold<br />
18pt/24pt<br />
Aa<br />
Memphis Extra Bold<br />
28pt/32pt<br />
Because of the geometric basis of its forms, Memp<br />
is often thought of as a font for technical fields, ma<br />
a rational, purposeful impression. This emphasis<br />
on objectivity is well-suited to technical texts, but<br />
Memphis is appropriate for any text which should<br />
exhibit a clear, neutral character. Some weights ar<br />
Because of the geometric basis of its for<br />
Memphis is often thought of as a font for<br />
fields, making a rational, purposeful im<br />
This emphasis on objectivity is well-suit<br />
technical texts, but Memphis is appropr<br />
Because of the geometr<br />
of its forms, Memphis is<br />
thought of as a font for<br />
fields, making a rationa<br />
purposeful impression.<br />
emphasis on objectivity<br />
SLAB SERIF 64
65 TYPE SPECIMEN BOOK |
lubalin<br />
graph<br />
OLD STYLE 66
K MNO<br />
TUVWX<br />
ABCDE<br />
67 TYPE SPECIMEN BOOK |
F<br />
HIJ<br />
PQRS<br />
YZ<br />
OLD STYLE 68
Aa<br />
Lubalin Graph<br />
Book Condensed<br />
9pt/14pt<br />
Aa<br />
Lubalin Graph<br />
Medium Condensed<br />
14pt/18pt<br />
Aa<br />
Lubalin Graph<br />
Demi Condensed<br />
22pt/26pt<br />
Aa<br />
Lubalin Graph<br />
Bold Condensed<br />
28pt/30pt<br />
Lubalin Graph’s outsize x-heights and open counters contribute to its readability,<br />
but strictly geometric letter shapes, unvarying stroke widths and heavy serifs make<br />
it unsuitable for continuous text. These same characteristics, however, make it an<br />
excellent choice for advertising applications such as logos and other distinctive or<br />
identity marking, headlines, and short blocks of text.<br />
Lubalin Graph’s outsize x-heights and open counters<br />
contribute to its readability, but strictly geometric letter<br />
shapes, unvarying stroke widths and heavy serifs make it<br />
unsuitable for continuous text. These same characteristics,<br />
however, make it an excellent choice for advertising<br />
applications such as logos and other distinctive or identity<br />
marking, headlines, and short blocks of text.<br />
Lubalin Graph’s outsize x-heights<br />
and open counters contribute to its<br />
readability, but strictly geometric<br />
letter shapes, unvarying stroke<br />
widths and heavy serifs make it...<br />
Lubalin Graph’s outsize<br />
x-heights and open counters<br />
contribute to its readability,<br />
but strictly geometric letter<br />
shapes, unvarying stroke...<br />
69 TYPE SPECIMEN BOOK | LUBALIN GRAPH
Aa<br />
Lubalin Graph<br />
Extra Light<br />
8pt/14pt<br />
Aa<br />
Lubalin Graph<br />
Book<br />
12pt/16pt<br />
Aa<br />
Lubalin Graph<br />
Demi<br />
20pt/24pt<br />
Aa<br />
Lubalin Graph<br />
Bold<br />
32pt/34pt<br />
Lubalin Graph’s outsize x-heights and open counters contribute to its<br />
readability, but strictly geometric letter shapes, unvarying stroke widths and<br />
heavy serifs make it unsuitable for continuous text. These same characteristics,<br />
however, make it an excellent choice for advertising applications such as logos<br />
and other distinctive or identity marking, headlines, and short blocks of text.<br />
Lubalin Graph’s outsize x-heights and open counters<br />
contribute to its readability, but strictly geometric letter<br />
shapes, unvarying stroke widths and heavy serifs make it<br />
unsuitable for continuous text. These same characteristics,<br />
however, make it an excellent choice for advertising<br />
applications such as logos and other distinctive or identity...<br />
Lubalin Graph’s outsize x-heights<br />
and open counters contribute to its<br />
readability, but strictly geometric<br />
letter shapes, unvarying stroke<br />
widths and heavy serifs make it<br />
unsuitable for continuous text...<br />
Lubalin Graph’s<br />
outsize x-heights<br />
and open counters<br />
contribute to its<br />
readability, but...<br />
SLAB SERIF 70
71 TYPE SPECIMEN BOOK |<br />
avenir
OLD STYLE 72
Aa<br />
Avenir 35 Light<br />
12pt/16pt<br />
abcdefghijklmnopqrstuvwxyz<br />
ABCDEFGHIJKLMNOPQRSTUVWXYZ<br />
1234567890!&%#$?+()*;/<br />
Aa<br />
Avenir 45 Book<br />
12pt/16pt<br />
abcdefghijklmnopqrstuvwxyz<br />
ABCDEFGHIJKLMNOPQRSTUVWXYZ<br />
1234567890!&%#$?+()*;/<br />
Aa<br />
Avenir 55 Roman<br />
12pt/16pt<br />
abcdefghijklmnopqrstuvwxyz<br />
ABCDEFGHIJKLMNOPQRSTUVWXYZ<br />
1234567890!&%#$?+()*;/<br />
Aa<br />
Avenir 65 Medium<br />
12pt/16pt<br />
abcdefghijklmnopqrstuvwxyz<br />
ABCDEFGHIJKLMNOPQRSTUVWXYZ<br />
1234567890!&%#$?+()*;/<br />
Aa<br />
Avenir 85 Heavy<br />
12pt/16pt<br />
abcdefghijklmnopqrstuvwxyz<br />
ABCDEFGHIJKLMNOPQRSTUVWXYZ<br />
1234567890!&%#$?+()*;/<br />
73 TYPE SPECIMEN BOOK | AVENIR
35 Light<br />
45 Book<br />
55 Roma<br />
65 Medi<br />
85 Heav<br />
SANS SERIF 74
75 TYPE SPECIMEN BOOK |
century<br />
gothic<br />
OLD STYLE 76
Regular<br />
Bold<br />
+<br />
Italic<br />
ecause of its clear<br />
lean design, the<br />
entury Gothic design<br />
an often be found in<br />
t use in schools and<br />
hen teaching<br />
anguages.<br />
77 TYPE SPECIMEN BOOK |
Aa<br />
Century Gothic Regular<br />
14pt/18pt<br />
Aa<br />
Century Gothic Regular<br />
24pt/32pt<br />
Aa<br />
Century Gothic Bold<br />
32pt/32pt<br />
abcdefghijklmnopqrstuvwxyz<br />
ABCDEFGHIJKLMNOPQRSTUVWXYZ<br />
1234567890!&%#$?+()*;/<br />
abcdefghijklmnopqrstuvwxyz<br />
ABCDEFGHIJKLM<br />
NOPQRSTUVWXYZ<br />
1234567890!&%#$?+()*;/<br />
abcdefghijklm<br />
nopqrstuvwxyz<br />
ABCDEFGHIJKLM<br />
NOPQRSTUVWXYZ<br />
1234567890<br />
!&%#$?+()*;/<br />
SANS SERIF 78
79 TYPE SPECIMEN BOOK |
futura<br />
OLD STYLE 80
Aa<br />
Futura Extra Bold Condensed Oblique<br />
62pt/65pt<br />
Futura had the honor of<br />
being the first typeface<br />
on the moon, chosen fo<br />
a commemorative plaqu<br />
left by the astronauts o<br />
Apollo 11 in 1969.<br />
81 TYPE SPECIMEN BOOK | FUTURA
Aa<br />
Futura Light Condensed<br />
9pt/13pt<br />
Aa<br />
Futura Medium Condensed<br />
12pt/16pt<br />
Aa<br />
Futura Bold Condensed<br />
18pt/22pt<br />
Aa<br />
Futura Extra Bold Condensed<br />
24pt/28pt<br />
Following the Bauhaus design philosophy, German type designer Paul Renner first created Futura between 1924 and<br />
1926. Although Renner was not a member of the Bauhaus, he shared many of its views, believing that a modern<br />
typeface should express modern models rather than be a rivial of a previous design. Futura was commercially<br />
released in 1927, commissioned by the Bauer type foundry.<br />
Following the Bauhaus design philosophy, German type designer Paul Renner first<br />
created Futura between 1924 and 1926. Although Renner was not a member of the<br />
Bauhaus, he shared many of its views, believing that a modern typeface should<br />
express modern models rather than be a rivial of a previous design. Futura...<br />
Following the Bauhaus design philosophy,<br />
German type designer Paul Renner first created<br />
Futura between 1924 and 1926. Although Renner<br />
was not a member of the Bauhaus, he shared<br />
many of its views, believing that a modern<br />
typeface should express modern models rather<br />
than be a rivial of a previous design. Futura..<br />
Following the Bauhaus<br />
design philosophy, German<br />
type designer Paul Renner<br />
first created Futura between<br />
1924 and 1926. Although...<br />
SANS SERIF 82
Aa<br />
Futura Light Oblique<br />
120pt/114pt<br />
APOLLO 11<br />
FIRST TYPEFAC<br />
ON THE MO<br />
83 TYPE SPECIMEN BOOK | FUTURA
Aa<br />
Futura Light<br />
9pt/13pt<br />
Aa<br />
Futura Medium<br />
12pt/16pt<br />
Aa<br />
Futura Bold<br />
18pt/22pt<br />
Aa<br />
Futura Extra Bold<br />
24pt/26pt<br />
Following the Bauhaus design philosophy, German type designer Paul Renner first<br />
created Futura between 1924 and 1926. Although Renner was not a member of<br />
the Bauhaus, he shared many of its views, believing that a modern typeface should<br />
express modern models rather than be a rivial of a previous design. Futura was<br />
commercially released in 1927, commissioned by the Bauer type foundry.<br />
Following the Bauhaus design philosophy, German type<br />
designer Paul Renner first created Futura between 1924 and<br />
1926. Although Renner was not a member of the Bauhaus, he<br />
shared many of its views, believing that a modern typeface...<br />
Following the Bauhaus design<br />
philosophy, German type designer<br />
Paul Renner first created Futura<br />
between 1924 and 1926. Although<br />
Renner was not a member of the<br />
Bauhaus, he shared many of its<br />
views, believing that a modern...<br />
Following the Bauhaus<br />
design philosophy,<br />
German type designer<br />
Paul Renner first created<br />
Futura between 1924<br />
and 1926. Although...<br />
SANS SERIF 84
85 TYPE SPECIMEN BOOK |<br />
news got
hic<br />
OLD STYLE 86
Aa<br />
News Gothic Regular<br />
10pt/16pt<br />
Aa<br />
News Gothic Oblique<br />
14pt/20pt<br />
Aa<br />
News Gothic Bold<br />
22pt/26pt<br />
The News Gothic typeface was designed by Morris Fuller Benton in 1908 for<br />
the American <strong>Type</strong> Founders as a humanist sans serif. Being a humanist sans<br />
serif, the typeface is a hybrid of a old style or humanist and a modern sans<br />
serif typeface. The typeface would be used in the design of newspaper and<br />
magazines throughout the 20th century.<br />
The News Gothic typeface was designed by Morris<br />
Fuller Benton in 1908 for the American <strong>Type</strong> Founders<br />
as a humanist sans serif. Being a humanist sans serif,<br />
the typeface is a hybrid of a old style or humanist and<br />
a modern sans serif typeface. The typeface would<br />
be used in the design of newspaper and magazines<br />
throughout the 20th century.<br />
The News Gothic typeface was<br />
designed by Morris Fuller Benton<br />
in 1908 for the American <strong>Type</strong><br />
Founders as a humanist sans<br />
serif. Being a humanist sans<br />
serif, the typeface is a hybrid<br />
of a old style or humanist and a<br />
modern sans serif typeface.<br />
87 TYPE SPECIMEN BOOK | NEWS GOTHIC
ABCDEFGHI<br />
JKLMNOPQR<br />
STUVWXYZ<br />
abcdefghi<br />
jklmnopqr<br />
stuvwxyz<br />
0123456789<br />
OLD STYLE 88
89 ARRANGING LOWER CASE LETTERS | ILENE STRIZVER<br />
by Ilene Str
izver<br />
90
<strong>Type</strong>face refers to the<br />
style, or design, of a set<br />
of characters (such as the<br />
Helvetica, Bodoni, or Times<br />
Roman typefaces).<br />
Font on the other hand,<br />
refers to the technology, or<br />
method used to reproduce<br />
or set the typeface.<br />
91 6 TYPOGRAPHY TERMS THAT GET CONFUSED A LOT | ILENE STRIZVER
FONT VS. TYPEFACE<br />
Many people who use fonts everyday have begun<br />
to say “font” when they really mean “typeface.”<br />
Today’s digital fonts are created with font<br />
production tools; these fonts are considered to<br />
be software. In phototype typography, which<br />
preceded digital technology, a font refers to the<br />
film onto which the typeface is imprinted. In<br />
metal, a font refers to every character included<br />
in a single size of a particular typeface. Each<br />
point size of a given typeface – such as 8 point,<br />
10 point, 12 point – is considered a different font.<br />
To summarize, designers select typefaces for<br />
their work, but then use fonts to create the<br />
actual document or design.<br />
92
a<br />
a a<br />
a<br />
This is a collection of glyphs representing the character a.<br />
b b b b<br />
Left) The lowercase b character is represented by four glyphs<br />
in Jenson italic: the standard b, an alternate, a small cap, and<br />
the superscript. (right) The capital B is a different character.<br />
93 6 TYPOGRAPHY TERMS THAT GET CONFUSED A LOT | ILENE STRIZVER
a<br />
B<br />
CHARACTER VS. GLYPH<br />
A character is the symbol representing a letter.<br />
A glyph is the specific shape, design, or representation<br />
of a character.<br />
The character a can be represented by many glyphs<br />
set in different typefaces. In addition, more than<br />
one glyph can represent one character in the same<br />
font. For example, a lowercase n character may be<br />
represented by glyphs of a standard lowercase n, a<br />
small cap n, and a swash n. However, a cap N and<br />
an italic n are different characters.<br />
94
Akzide<br />
LEGIBILITY VS. READABILITY<br />
These two terms both relate to ease of reading<br />
from a typographic perspective. However, they<br />
are not synonymous.<br />
Legibility refers to the design of the typeface.<br />
Readability refers to how the typeface is arranged.<br />
The legibility of a typeface is determined by the<br />
characteristics of the design, including x-height,<br />
character shapes, width, stroke contrast, the size of<br />
the counters, and weight – all of which contribute to<br />
the ease of distinguishing one letter from another.<br />
Readability, on the other hand, relates to how the<br />
type is set or arranged. Factors affecting readability<br />
include point size, line spacing (or leading), letter<br />
spacing, word spacing, line length, and alignment.<br />
Readability<br />
you set and<br />
type. Chara<br />
types reada<br />
point size, li<br />
spacing, wo<br />
lenght and<br />
95 6 TYPOGRAPHY TERMS THAT GET CONFUSED A LOT | ILENE STRIZVER
nz Grotesk is very legible.<br />
Examples of differing degrees of legibility.<br />
is related to how<br />
arrange they<br />
cteristic affecting<br />
bility include<br />
ne spacing, letter<br />
rd spacing, line<br />
alignment.<br />
Readability is related to<br />
how you set and arrange<br />
they type. Characteristic<br />
affecting types readability<br />
include point size, line<br />
spacing, letter spacing,<br />
word spacing, line lenght<br />
and alignment.<br />
A very legible typeface such as ITC Flora (left) is<br />
made less readable (right) by how it is typeset.<br />
96
O<br />
DESIGNER<br />
LUIS HERNANDEZ<br />
LUISHDZ991@GMAIL.COM<br />
ART DIRECTION<br />
BETH WEEKS<br />
TYPOGRAPHY II<br />
SAN DIEGO STATE UNIVERSITY<br />
SPRING 2017<br />
SPECIMEN<br />
17 TYPEFACES: CASLON, GARAMOND,<br />
HOEFLER TEXT, BASKERVILLE,<br />
PERPETUA, JANSON, BODONI, DIDOT,<br />
MONOTYPE MODERN, CLARENDON,<br />
GLYPHA, MEMPHIS, LUBALIN GRAPH,<br />
AVENIR, CENTURY GOTHIC, FUTURA<br />
AND NEWS GOTHIC.<br />
NARRATIVE<br />
ARRANGING LOWER CASE<br />
LETTERS BY ILENE STRIZVER<br />
6 TYPOGRAPHY TERMS THAT GET<br />
CONFUSED A LOT<br />
BY ILENE STRIZVER<br />
TYPEFACES<br />
GOTHAM<br />
HOEFLER TEXT<br />
(USED THROUGH THE BOOK)<br />
H
L<br />
O<br />
PAPER<br />
ACCENT OPAQUE DIGITAL<br />
TEXT SMOOTH<br />
70 LB<br />
COPYRIGHT<br />
© ALL RIGHTS RESERVED<br />
TO LUIS HERNANDEZ 2017<br />
SOFTWARE<br />
ADOBE INDESIGN CC<br />
ADOBE ACROBAT CC<br />
O<br />
N
MEN<br />
OOK<br />
YPE<br />
PEC
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