-
Jan 1, 1500
garamond
Garamond is a group of many old-style serif typefaces, originally those designed by Parisian craftsman Claude Garamond and other 16th century French engravers, and now many modern revivals. Though his name was written as 'Garamont' in his lifetime, the typefaces are generally spelled 'Garamond'. -
Caslon
Caslon is a group of serif typefaces designed by William Caslon I (1692–1766) in London. Caslon worked as an engraver of punches, the masters used to stamp the moulds or matrices used to cast metal type. He worked in the tradition of what is now called old-style serif letter design, that produced letters with a relatively organic structure resembling handwriting with a pen. Caslon established a tradition of designing type in London, which had not been common. -
bodoni
Bodoni is the name given to the serif typefaces first designed by Giambattista Bodoni (1740–1813) in the late eighteenth century and frequently revived since.[1][2] Bodoni's typefaces are classified as Didone or modern. Bodoni followed the ideas of John Baskerville, as found in the printing type Baskerville—increased stroke contrast reflecting developing printing technology and a more vertical axis—but he took them to a more extreme conclusion. -
franklin gothic
Franklin Gothic and its related faces are realist sans-serif typefaces originated by Morris Fuller Benton (1872–1948) in 1902. “Gothic” was a contemporary term (now little-used except to describe period designs) meaning sans-serif. Franklin Gothic has been used in many advertisements and headlines in newspapers. The typeface continues to maintain a high profile, appearing in a variety of media from books to billboards. -
cooper black
Cooper Black is a heavily weighted, display serif typeface designed by Oswald Bruce Cooper in 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 popularized by Oswald Bruce Cooper in Chicago and the Midwest of America in the 1920s. -
gill sans
Gill Sans takes inspiration from the calligrapher and lettering artist Edward Johnston's 1916 "Underground Alphabet", the corporate font of London Underground, now (although not at the time) most often simply called the "Johnston" typeface. Gill as a young artist had assisted Johnston in its early development stages. In 1926, Douglas Cleverdon, a young printer and later a BBC executive, opened a bookshop in Bristol, and Gill painted a fascia for the shop in sans-serif capitals. -
futura
Futura is a geometric sans-serif typeface designed in 1927 by Paul Renner. It was designed as a contribution on the New Frankfurt-project. It is based on geometric shapes that became representative of visual elements of the Bauhaus design style of 1919–33. It was commissioned as a typeface by the Bauer Type Foundry, in reaction to Ludwig & Mayer's seminal Erbar of 1922. -
rockwell
Rockwell is a slab serif typeface designed by the Monotype Corporation and released in 1934.[1][2] The project was supervised by Monotype's engineering manager Frank Hinman Pierpont. A serif at the apex of uppercase A is distinct. The lowercase a is two-storey. Because of its monoweighted stroke, Rockwell is used primarily for display or small-size use rather than lengthy bodies of body text. Rockwell is based on an earlier, more condensed slab serif design called Litho Antique. -
helvetica
Helvetica is a widely used sans-serif typeface developed in 1957 by Swiss typeface designer Max Miedinger with input from Eduard Hoffmann. It is a neo-grotesque or realist design, one influenced by the famous 19th century typeface Akzidenz-Grotesk and other German and Swiss designs. Its use became a hallmark of the International Typographic Style that emerged from the work of Swiss designers in the 1950s and 60s, becoming one of the most popular typefaces of the 20th century. -
bell centennial
Bell Centennial is a sans-serif typeface designed by Matthew Carter in the period 1975–78. The typeface was commissioned by AT&T as a proprietary type to replace their then current directory typeface Bell Gothic on the occasion of AT&T’s one hundredth anniversary. Carter was working for the Mergenthaler Linotype Company which now licenses the face for general public use. -
avenir
Avenir is a proportional geometric sans-serif typeface designed by Adrian Frutiger in 1988 and released by Linotype GmbH, now a subsidiary of Monotype Corporation. The word avenir is French for "future". The font takes inspiration from the early geometric sans-serif typefaces Erbar (1922), designed by Jakob Erbar, and Futura (1927), designed by Paul Renner. Frutiger intended Avenir to be a more organic, humanist interpretation of these highly geometric types. -
trajan
Trajan is an old style serif typeface designed in 1989 by Carol Twombly for Adobe. The design is based on the letterforms of capitalis monumentalis or Roman square capitals, as used for the inscription at the base of Trajan's Column from which the typeface takes its name. Since the inscription and its writing form manifests in only one case, Trajan is an all-capitals typeface. Instead, small caps are commonly used, and a more complete set of glyphs contained in Trajan Pro. -
ff meta
FF Meta is a humanist sans-serif typeface family designed by Erik Spiekermann and released in 1991[1] through his FontFont library. According to Spiekermann, FF Meta was intended to be a "complete antithesis of Helvetica", which he found "boring and bland".[2] It originated from an unused commission for the Deutsche Bundespost (West German Post Office). -
georgia
Georgia is a serif typeface designed in 1993 by Matthew Carter and hinted by Tom Rickner for the Microsoft Corporation. It was intended as a serif font that would appear elegant but legible printed small or on low-resolution screens. The font is inspired by Scotch Roman designs of the 19th century and was based on designs for a print typeface in the same style Carter was working on when contacted by Microsoft; this would be released under the name Miller some years later.
