typeface booklet

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GEORGIA

GEORGIA

GGeorgia is a transitional serif type-face designed in 1993 by Matthew Carter and hinted by Tom Rickner for the Microsoft Corporation, as the serif companion to the first Mi-crosoft sans serif screen font, Ver-dana. Microsoft released the initial ver-sion of the font on November 1, 1996 as part of the core fonts for the Web col-lection. Later, it was bundled with Inter-net Explorer 4.0 supplemental font pack.Georgia is designed for clarity on a com-puter monitor even at small sizes, par-tially effective due to a large x-height. The typeface is named after a tabloid head-line titled “Alien heads found in Georgia.The Georgia typeface is similar to Times New Roman, but with many subtle differences: Georgia is larger than Times at the same point size, and has a greater x-height at the same ac-tual size; Times New Roman is slightly narrow-er, with a more vertical axis; and Georgia’s serifs are slightly wider and have blunter, flatter ends.

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GEORGIA

GEORGIA A B C D E F G H I J K L M N O P Q R S T U V W X Y Za b c d e f g h i j k l m n o p q r s t u v w x y z0 1 2 3 4 5 6 7 8 9 ! @ # $ % ^ & * ( ) : ; ‘ “ , . ?GGeorgia incorporates influences from

Clarendon-style typefaces, especially in b, r, j, and c (uppercase and low-ercase).[citation needed] Figures (numerals) are an exception: Geor-gia uses text (old-style) figures

whereas Times New Roman has lining figures. Georgia was part of Microsoft’s core fonts for the Web package and is preinstalled by default on Apple Macin-tosh and Windows-based computers. It has found popular use as an alterna-tive serif typeface to Times New Roman.

MATTHEW CARTER

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CAU NE

The typeface is based upon several Renais-sance models. Rog-ers’ primary influ-ence for the Roman was Nicholas Jenson’s 1475 Laertis, consid-ered the model for the modern Roman al-phabet. Centaur also shows the influence of types cut by Fran-cesco Griffo in 1495 for a small book ti-tledDe Aetna writ-ten by Pietro Bembo.

The 1929 typeface Bembo, is based pri-marily upon that specimen. Rogers later added the Ro-man lowercase, and the italic, based upon Ludovico Arrighi’s 1520 chancery face, was drawn by Fred-eric Warde, and is the typeface released for general use in 1929 by the Monotype Corporation Ltd.

Centaur is a Humanist Type Family original-ly drawn as titling capitals by Bruce Rogers in 1914 for the Metropolitan Museum of Art.

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CR

C

T

BRUCE ROGERS

CENTAUR

A B C D E F G H I J K L M N O P Q R S T U V W X Y Za b c d e f g h i j k l m n o p q r s t u v w x y z0 1 2 3 4 5 6 7 8 9 ! @ # $ % ̂ & * ( ) : ; ‘ “ , . ?

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C O O P E R

A B C D E F G H I J K L M N O P Q R S T U V W X Y Za b c d e f g h i j k l m n o p q r s t u v w x y z0 1 2 3 4 5 6 7 8 9 ! @ # $ % ^ & * ( ) : ; ‘ “ , . ?

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BLACK

Cooper Black is a heavily weighted, old style serif typeface designed by Oswald Bruce Cooperin 1921 and released by the Barnhart Brothers & Spindler type foundry in 1922. The typeface is drawn as an extra bold weight of Cooper Old Style. Though not based on a single historic model, Cooper Black exhibits influences of Art Nouveau, Art Deco, and the Machine Age. Cooper Black was a predominant lettering style pop-ularized by Oswald Bruce Cooper in Chicago and the Midwest of America in the 1920s, given typographic form. An earlier weight of Cooper’s type designs, Cooper Old Style (later just “Cooper”) was released first, though Cooper Black was what BB&S found-ry was after. Cooper Black was adver-tised as being “for far-sighted printers with near-sighted customers”, as well as “the Black Menace” by detractors.

Oswald Bruce

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Cambria“Cambria was designed by Dutch ty-pographer Jelle Bosma in 2004, with Steve Matteson and Robin Nicholas.”

Cambria is part of the suite of fonts that comes with Microsoft Windows Vista, Win-dows 7,Microsoft Office 2007, Microsoft Of-fice 2008 for Mac and Microsoft Office 2011 for Mac, specifically designed for on-screen reading and to be aesthetically pleasing when printed at small sizes. It is a transitional serif font. It has very even spacing and proportions. Diagonal and vertical hairlines and serifs are relatively strong, while horizontal ser-ifs are small and intend to emphasize stroke endings rather than stand out themselves.

Jelle Bosma

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This principle is most noticeable in the ital-ics where the lowercase characters are sub-dued in style. Cambria was designed by Dutch typographer Jelle Bosma in 2004, with Steve Matteson and Robin Nicholas.A completely unrelated font using the Cam-bria name was created by type design-er Ian Koshnick in 1989 for his software publishing company, Cambria Publishing.

ambria

Jelle Bosma

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BASK E R V I L L E

A B C D E F G H I J K L M N O P Q R S T U V W X Y Za b c d e f g h i j k l m n o p q r s t u v w x y z! @ # $ % ^ & * ( ) : ; ‘ “ , . ?

Baskerville is a transitional serif typeface designed in 1757 by John Baskerville (1706–1775) inBirmingham, England.

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BASK E R V I L L EBaskerville is classified as a transitional type-face, positioned between the old style typefac-es of William Caslon, and the modern styles of Giambattista Bodoni and Firmin Didot.The Baskerville typeface is the result of John Baskerville’s intent to improve upon the types of William Caslon. He increased the contrast between thick and thin strokes, making the serifs sharper and more tapered, and shifted the axis of rounded letters to a more vertical position. The curved strokes are more circular in shape, and the characters became more regular. These changes cre-ated a greater consistency in size and form.

Baskerville’s typeface was the culmination of a larger series of experiments to improve legibility which also included paper mak-ing and ink manufacturing. The result was a typeface that reflected Baskerville’s ideals of perfection, where he chose simplicity and quiet refinement. His background as a writ-ing master is evident in the distinctive swash tail on the uppercase Q and in the cursive serifs in the Baskerville Italic. The refined feeling of the typeface makes it an excel-lent choice to convey dignity and tradition.

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AEST

13SB

OO

KM

AN

Several American foundries copied the design, including the Bruce Type Foundry, and issued it under various names. In 1901, Bruce refitted their design, made a few other im-provements, and rechristened it Bartlett Oldstyle. When Bruce was taken over by ATF shortly thereafter, they changed the name to Bookman Oldstyle.

Bookman was designed as an alternative to Caslon, with straighter serifs, making it more suitable for book and dis-play applications. It maintains its legibility at small sizes, and can be used successfully for headlines and in advertising. In 1936, Chauncey H. Grif-fith of the American Linotype foundry developed a revival.


OLD STYLE

Bookman or Bookman Old Style is a serif type-face derived from Old Style Antique designed by Alexander Phemis-ter in 1858 for Miller and Richard foundry.

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CALISTO

Qq

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CALISTO MT

A B C D E F G H I J K L M

N O P Q R S T U V W X Y Z

a b c d e f g h i j

k l m

n o p q r s t u v w x y z

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‘ “ , . ?

Calisto M

T is an o

ld style

serif

typeface

designed

in 1986 fo

r the

Monotype foundry by Ron Carpen

-

ter, B

ritish typographer,

born 1950.

The Calisto face

is inten

ded to

function as b

oth a text a

nd display

face. Stro

ke contrast

is minim

al

and maintenance

of even color,

especi

ally in

smalle

r point s

izes,

contributes

to high le

gibility.

Ro-

man and italic

characte

rs are

ani-

mated by se

rifs and te

rminals c

ut

on an angle to th

e basel

ine, and

a concav

e inden

t at th

e term

inals

reminisc

ent o

f Belw

e and Palatin

o

types. M

inuscule

characte

rs have

a somewhat

extreme

x-height.q

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abcdefghjikl

mnopqrstuvwxyz

ABCDEFGHIJ

KL

MNOPQRSTUV

WXYZ

0

1

2

3

4

5

6

7

8

9

$

&

*

(

)

;

:

,

.

?

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GOUDYOld StyleGoudy Old Style (also known as just Goudy) is an old-style classic serif typeface origi-nally created by Fred-eric W. Goudy for American Type Found-ers (ATF) in 1915.

Suitable for both text and display applications, Goudy Old Style is a graceful, balanced design with a few eccentricities, including the upward-curved ear on the g and the diamond shape of the dots of the i, j, and the points found in the pe-riod, colon and exclamation point, and the sharply canted hyphen.

The uppercase italic Q has a strong calligraphic quality. Generally classi-fied as a Garalde (sometimes called Aldine) face, certain of its attributes—most notably the gently curved, rounded serifs of certain glyphs—suggest a Venetian influence. Goudy Old Style is considered to be among the most legible and readable serif typefaces for use in print (offline) applications.

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FOLKA

RD

Folkard is a font based on hand lettering by

British artist and calligra-pher Charles Folkard. The font

was developed by Dave Nalle of Scriptorium Fonts from samples of his characteristic hand lettering taken from book covers and sheet music which he illustrated and decorated. Folkard has swashed capital letters and several variant forms of a number of the letters.

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

abcdefghji

kl

mnopqrstuvwxyz

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The lowercase characters are dis-tinguished by having characteristics similar to insular minusculelettering, while the upper case characters are a fanciful variant on traditional ro-man characters. Folkard has become popular as a font for book cov-ers and merchandising, particu-larly in association with fairy and fantasy subject matter.

0 1 2 3 4 5 6 7 8 9 $ & * ( ) ; : , . ?

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ROCKWELL

Rockwell is a serif typeface belonging to the classification slab serif, or Egyptian, where the serifs are unbracketed and sim-ilar in weight to the horizontal strokes of the letters. The typeface was designed at the Monotype foundry’s in-house design studio in 1934.The project was supervised by Frank Hinman Pierpont. Slab serifs are similar in form and in typographic voice to realist sans-serifs like Akzidenz Grotesk or Franklin Gothic. Rockwell is geomet-ric, its upper- and lowercase O more of a circle than an ellipse. A serif at the apex of uppercase A is distinct. The lower-case a is two-story, somewhat incongru-ous for a geometrically drawn typeface.


21ROCKWELL

Because of its monoweight-

ed stroke, Rockwell is used

primarily for display rather

than lengthy bodies of text.

Rockwell is based on an ear-

lier, more condensed slab

serif design called Litho An-

tique. The 1933 design for

Monotype was supervised

by Frank Hinman Pierpont.

The Guinness World Records

used Rockwell in some of their

early-1990s editions. Dock-

lands Light Railway also used

a bold weight of this typeface

in the late 1980s and early

‘90s. The New York Times uses

a similar typeface, Stymie Ex-

tra Bold, for the headlines and

some other typographical

uses in its Sunday magazine.

The letterform of Stymie Ex-

tra Bold’s lower-case “t” is

highly geometrical, whereas

Rockwell’s Extra Bold has a

rounded letterform. The as-

cender of the Rockwell “t”

is also cut at a sharp angle

not to be found in the Sty-

mie typeface. The Konami-

arcade game beatmania

III features Rockwell as the

typeface used for song titles.


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P PPERPETUA A B C D E F G H I J K L M N O P Q R S T U V W X Y Za b c d e f g h i j k l m n o p q r s t u v w x y z0 1 2 3 4 5 6 7 8 9 ! @ # $ % ̂ & * ( ) : ; ‘ “ , . ?

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P PPerpetua is a typeface that was designed by English sculptor, typeface designer, stonecut-ter and printmaker Eric Gill (1882–1940).Though not designed in the historical period of transitional type (the hallmark of transitional type was John Baskerville’s type designed in the last half of the 18th century), Perpetua can be classified with transitional typefaces because of characteristics such as high stroke contrast and bracketed serifs. Along with these characteristics, Perpetua bears the dis-tinct personality of Eric Gill’s letterforms.


ERIC GILL

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MINIONPROMINION

Robert Sl

imbach

Minion is the name of a typeface designed by Robert Slimbach in 1990 for Adobe Systems. The name comes from the traditional naming system for type sizes, in which minion is between nonpareil and brevi-er. It is inspired by late Renaissance-era type.

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PROMINIONPROAn OpenType update of the original family, re-

leased in 2000. The font was designed based on Minion MM, but with redesigns, which in-clude slight changes to the selection of in-stances, and also alteration of font metrics.The family comes with 3 (later 4, which adds Me-dium) weights each in roman and italic, 2 widths, and 4 optical sizes. The Black weight from Minion Black Expert was not included. Each font includes the expert glyphs and dingbats that were previ-ously found in Minion Expert package (swash-es available in italic fonts only), Cyrillic Glyphs from Minion Cyrillic. In addition, the font fam-ily supports Adobe CE, Adobe Western 2, Greek, Latin Extended, Vietnamese character sets.

ABCDEFGHIJ

KL

MN

OPQRSTUV

WXYZ

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PALATINO

Palatino is the name of a large typeface fam-ily that began as an old style serif type-face designed by Her-mann Zapf initially released in 1948 by the Linotype foundry.In 1999, Zapf revised Palatino for Linotype and Microsoft, called Palatino Linotype. The revised family in-corporated extended Latin, Greek, and Cy-rillic character sets.


a b c d e f g h i j k l m n o p q r s t u v w x y z

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PALATINOHermann Zapf

Named after 16th centu-ry Italian master of cal-ligraphy Giambattista Palatino,[citation needed] Palatino is based on the hu-manist fonts of the Italian Renaissance, which mir-ror the letters formed by a broad nib pen; this gives a calligraphic grace. But where the Renaissance fac-es tend to use smaller letters with longer vertical lines (ascenders and descenders) with lighter strokes, Pala-tino has larger proportions, and is considered to be a much easier to read typeface.

Under the collabora-tion of Zapf and Akira Kobayashi, the Palatino typeface family was ex-panded. Linotype re-leased the Palatino nova, Palatino Sans, and Pala-tino Sans Informal fami-lies, expanding the Pala-tino typeface families to include humanist sans-serif typefaces. Palatino nova was released in 2005, while the others were released in 2006.



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28 TTimes New Roman

TIM

ES N

EW R

OMAN

Times New Roman is a serif typeface commissioned by the British newspaper The Times in 1931, created by Victor Lar-dent at the English branch of Monotype.It was commissioned afterStanley Morison had written an article criticizing The Times for being badly printed and typographically antiquat-ed.The font was supervised by Morison and drawn by Vic-tor Lardent, an artist from the advertising department of The Times. Morison used an older font named Plantin as the basis for his design, but made revi- sions for legibility and economy of space. As the old type used by the newspaper had been called T i m e s Old Roman, Morison’s revi- sion became Times New Roman and made its debut in the 3 October 1932 issue of The Times news-paper.Times Old Roman is in fact derived from commonly used Ro-m a n



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29TTimes New Roman

phrase, “I am (X) times old, Roman”. This indicated a person’s age. After one year, the design was released for commercial sale. The Times stayed with Times New Roman for 40 years, but new production techniques and the format change from broad-sheet to tabloid in 2004 have caused the newspaper to switch font five times since 1972. However, all the new fonts have been variants of the original New Roman font. Some experts believe that the design was based on an earlier original work of William Starling Burgess. This theory remains controversial.Because of its ubiquity, the typeface has been influential in the subsequent development of a number of serif typefaces both before and after the start of the digital-font era. One notable example is Georgia, shown below on the right, which has very

similar stroke shapes to Times New Roman but wider serifs.Although no longer used by The Times, Times New

Roman is still widely used in book typography, particularly in mass-market paperbacks in

the United States. Especially due to its adoption in Microsoft products,

it has become one of the most ubiquitous type-

faces in history.



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SSylfaen is a multi-script serif font family designed by John Hudson and W. Ross Mills of Tiro Type-works, and Geraldine Wade of Monotype Typography. The name Sylfaen is a Welsh word meaning foundation. In 1997, Tiro was hired by Microsoft Typography to consult on the production of support materials for OpenType font development.

SYLFAEN

A B C

D E F G H I J K L M N

O P Q R S T U

V W X Y Za b c d e f

g h i j k l m n o p q r s t u v w x y z0 1 2 3 4 5 6 7 8 9 ! @

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SYLFAEN

SYLFAEN

A B C

D E F G H I J K L M N

O P Q R S T U

V W X Y Za b c d e f

g h i j k l m n o p q r s t u v w x y z

Part of this project was producing a multi-script font used for displaying glyphs

in the Web Resource for Interna-tional Typography (WRIT) database, which was a tool for establishing character and glyph requirements for given languages, geographical ar-eas or scripts (or combinations there-

of). The project included support for Latin, IPA,Cyrillic, Greek, Armenian,

Georgian, and Ethiopian characters.

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THANK

THANK

YOU

YOUDesigned by : Debora Septavia Kristanti

source : en.wikipedia.org/wiki/serif

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typeface booklet