Typeface

The influential typeface Helvetica, a neo-grotesque1 sans serif type design, came into being in the early 1950s - after the Second World War. The expectation of the designers, Edouard Hoffman and Max Miedinger was to create a neutral typeface that had great clarity, no intrinsic meaning in its form and could be used on a wide variety of signage to remake a new identity apart from the past (). Originally named as Neue Haas Grotesk, the typeface was changed to Helvetica in 1960. Today, Helvetica, as

Futura is a sans serif typeface. It is classified as geometric, meaning that the looks of the letterforms are based on geometric shapes. The bowls of the letters are almost-perfect circles and the peaks of some letters such as W’s and uppercase A’s create triangles. This gives the letterforms a very simple look that can be broken down into just a few key elements. For example, letters such as the lowercase ‘d’ and ‘b’ are made up of a circle and str¬aight, vertical line on one side, and letters such

Effective type design depends upon a broad conceptual and perceptual comprehension of typefaces and their corresponding potentials for communication and expression. To achieve this understanding, a comparison between the selected Super Normal serif and sans serif cases is essential to be exhibited and summarized in this part, providing references to the following creative part that will be showed in the Chapter 4. Overview Generally, type design demonstrates the history of cultural changes, social

The Copperplate typeface is a typeface that all designers in the industry should learn and know about. At first glance the Copperplate typeface seems very common but if you look at it in depth you can see its many interesting characteristics. Back in the day this typeface was not so used as it is today, now we can see it representing many businesses and people are using it more and more. For various reasons some people like or dislike the Copperplate typeface. With more detailed information about

Finding the Right Font Typeface The art and science of typefaces is called typography, and its roots date back to the 15th century when a system of moveable type was first invented. This revolutionary concept spread throughout the world and gave way to the mass printing of materials. Even though typography has a rich history and plays a huge role in design, many still think that there isn’t much to fonts. However, utilizing the correct typeface is one of the most important aspects to graphic, print

D.B. Updike’s 1922 Printing Types considerably enabled the efforts of revival in historical typefaces and Stanley Morison became the principal figure in their revival. (Kinross, 2004, p. 70) But the period of most intense activity for the reform movement came to an end around 1930. The recession and cut backs being obvious economic explanation. (Kinross, 2004, p. 78) With the depression era came a level of poverty unlike many had seen, demanding the priorities of life needing evaluation. While the

Palatino typeface in 1948 after careful studies with a punchcutter, August Rosenberger. It was later modified in 1950 for lead typesetting. Then it was officially released with a Linotype foundry company in Germany. Out of relatively 200 typefaces that he developed, Palatino was considered his breakthrough font. It is considered one of the world’s most widely used typefaces. Palatino was named after the sixteenth century Italian master of calligraphy, Giambattista Palatino. The typeface relates to

Morris Fuller Beton creator of the Typeface News Gothic as well as many other typefaces was born in the year of 1844 in Little falls New Jersey. He was the son of Linn Boyd Beton an American engineer who created the ATF (American Type Founders Company) in the early 1892’s. Morris Fuller’s father was an inventor and discovered many different ways to use and create typefaces, his most successfulness invention was a pantographic punch-cutting machine, this invention took the world of typography to the

Adrian Frutiger is undeniably one of the most Influential typeface designers of the 20th century even in the world of digital typeface. During the 50 years of his professional management, he has designed over 30 typefaces. He has also worked for IBM and type manufacturing companies such as Linotype and Westiform. His Univers and Frutiger typefaces in the world of visual communication and typography are among the most renowned works of design. Adrian Frutiger was born in 1928 in Interlaken, a town

Introduction The best way to explain the love and hate feelings towards one of the most recognizable typefaces of all time is best done by a joke. “So, Comic Sands walks into a bar…and the bartender says, ‘we don’t serve your type’” (Garfield, 21). Comic Sans was created by Vincent Connare, and was released by Microsoft in 1995. Ever since its existence people have questioned its purpose and aesthetic. The typeface is notoriously known for being too informal and lacks care in designing it. An example of a