serif
Baskerville page 2 Baskerville page 3 Baskerville Baskerville Regular 26/28 while reading a quote by Baskerville italic 26/28 quote by Baskerville Semi bold 24/30 quote by Baskerville bold 24/26 quote by Baskerville bold italic 24/26 Baskerville is a transitional typeface designed in 1752 by John Baskerville in Birmingham, England. Baskerville is classified as a transitional typeface, positioned between the old style Centaur and Bodoni. Baskerville was a result of trying to improve on the typeface Caslon giving careful attention to drawing refined letterforms that retained the idea of the hand. Baskerville was popular most of the 18th century when the fell out of style for the more modern Bodoni Baskerville Regular 12/14 Baskerville is a transitional serif typeface designed in 1757 by John Baskerville (1706-1775) in Birmingham, England. Baskerville is classified as a transitional typeface, positioned between the old style typefaces of William Centaur, and the modern styles of Giambattista Bodoni and Firmin Didot. Baskerville Regular 10/12 Baskerville is a transitional serif typeface designed in 1757 by John Baskerville (1706-1775) in Birmingham, England. Baskerville is classified as a transitional typeface, positioned between the old style typefaces of William Centaur, and the modern styles of Giambattista Bodoni and Firmin Didot. Baskerville Regular 9/11 Baskerville is a transitional serif designed in 1757 by John Baskerville (1706-1775) in Birmingham, England. Baskerville Regular all caps 10/12 Baskerville is a transitional serif typeface designed by John Baskerville in England. Baskerville Semi bold 12/14 Baskerville is a transitional serif typeface designed in 1757 by John Baskerville (1706-1775) in Birmingham, England. Baskerville italic 12/14
Baskerville, bembo, and sabon comparison page 4 ACEGJKMPR UW abegjkmqrt Baskerville ACEGJKMPR UW abegjkmqrt Baskerville, bembo, and sabon overlay page 5 ACEGJKMR Baskerville bembo ACEGJKMR Baskerville sabon ACEGJKMR Bembo sabon Sabon ACEGJKMPR ejg ejg ejg UW abegjkmqrt Bembo baskerville Bembo Sabon art art art
Bembo Std quote by Bembo Regular 26/28 while reading a quote by Bembo italic 26/28 quote by Bembo Semi bold 24/26 for fun i like to jump cars albert einstein. Bembo bold 24/30 Bembo page 6 Monotype Bembo, issued in 1929, is based on the roman cut by Francesco Griffo for Cardinal Bembo s tract de Aetna in 1495. It owes its beauty and legibility in all sizes to the well proportioned letterforms and clear detail. It has been carefully redrawn to capture the spirit and intention of the original. Bembo Regular 12/14 The result is a face of timeless beauty, making it very popular for text. The Bembo italic fonts were adapted from a face of Giovanni Tagliente These fonts have an easy, natural grace when used on their own, and are perfect companions to the roman fonts. Bembo is one of the most beautiful and distinctive typefaces and has been widely used for book text, advertising and display work over the last 60 years. Bembo Regular 10/12 Monotype Bembo, issued in 1929, is based on the roman cut by Francesco Griffo for Cardinal Bembo s tract de Aetna in 1495. It owes its beauty and legibility in all sizes to the well proportioned letterforms and clear detail. It has been carefully redrawn to capture the spirit and intention of the original. Bembo Regular 9/11 Monotype Bembo, issued in 1929, is based on the roman cut for Cardinal Bembo s tract de Aetna in 1495. It owes its beauty and legibility in all sizes to the well proportioned letterforms and clear detail. It has been carefully redrawn to capture the spirit and intention of the original. Bembo bold10/12 Bembo, issued in 1929, is based on the roman cut by Francesco Griffo for Cardinal Bembo s tract de Aetna in 1495. Bembo page 7 Bembo bold italic 24/26 Bembo Extra bold italics 12/14 Monotype Bembo, issued in 1929, is based on the roman cut by Francesco Griffo for Cardinal Bembo s tract de Aetna in 1495. Bembo Regular ALL CAPS 9/11
Bodoni Std bodoni page 8 Bodoni page 9 Bodoni book 26/28 while reading a quote by Bodoni book italic 20/22 Bodoni roman 24/26 Bodoni Poster 18/20 Bodoni bold 24/26 Bodoni is the name given to typefaces designed by Giambattista Bodoni in 1798. The typeface is classified as didone modern. Bodoni followed the ideas of Baskerville, as found in the printing type Baskerville, that of increased stroke contrast and a more vertical, slightly condensed, upper case, but taking them to a more extreme conclusion. Bodoni s typeface has a narrower underlying structure with flat, unbracketed serifs. The face has extreme contrast between thick and thin strokes, and an overall geometric construction. Bodoni Book 12/14 Bodoni s typeface has a narrower underlying structure with flat, unbracketed serifs. The face has extreme contrast between thick and thin strokes, and an overall geometric construction. Bodoni roman 10/12 Bodoni s typeface has a narrower underlying structure with flat, unbracketed serifs. The face has extreme contrast between thick and thin strokes, and an overall geometric construction. Bodoni roman 9/11 Bodoni s typeface has a narrower structure with flat, unbracketed serifs. The face has extreme contrast between thick and thin strokes, and an overall geometric construction. Bodoni book caps 10/12 Bodoni s typeface has a narrower underlying structure with flat, unbracketed serifs. The face has extreme contrast between thick and thin strokes, and an overall geometric construction. Bodoni bold italic 12/14 Bodoni bold italic 24 pt
Didone page 10 bodoni page 11 ACEGJKMPR UW abegjkmqrt bodoni ACEGJKMPR UW abegjkmqrt didot ACEGJKMPR UW abegjkmqrt Walbaum AA GG WW Bodoni Baskerville the other sides of bodoni. Here bodoni is elegant in all caps. He is 36pt tall and narrow. Now he is sporting lower case at 36pt and still elgant, but not as elegant as the uppercase. When bodoni was smaller he was not as elegant infact he was down right illegible When bodoni gets mad and quite bold he gets to be garish and heavy handed, but when he is feeling whimsical and fun his italic mood is quite pleasing
bookman page 12 bookman page 13 ITC Bookman quote by Bookman light 22/22 Bookman medium 21/21 bookman Demi 20/20 bookman Bold 20/20 bookman light italic 20/20 bookman Demi italic 20/20 Bookman ld Style is a serif typeface derived from ld Style Antique designed by Alexander Phemister in 1858 for Miller and Richard foundry. It was designed as an alternative to Caslon, with straighter serifs, making it more suitable for book and display applications. It maintains its legibility at small sizes, and can be used for headlines and in advertising. Bookman 12/14 It was designed as an alternative to Caslon, with straighter serifs, making it more suitable for book and display applications. It maintains its legibility at small sizes, and can be used for headlines and in advertising. Bookman 10/12 It was designed as an alternative to Caslon, with straighter serifs, making it more suitable for book and display applications. It maintains its legibility at small sizes, and can be used for headlines and in advertising. Bookman 9/11 Bookman is a serif typeface derived from ld Style Antique designed by Alexander Phemister in 1858 Bookman demi 10/12 Bookman is a serif typeface derived from ld Style designed by Alexander Phemister in 1858 Bookman light italic 10/12 Bookman is a serif typeface derived from ld Style Antique designed by Alexander Phemister in 1858 Bookman bold 12/14
caslon page 14 caslon page 15 ITC Caslon 224 while reading a quote by Caslon book 26/26 quote by Caslon book italic 26/28 Caslon bold 22/22 Albert Einstein Caslon bold 22/22 For fun I like to Jump Cars While Reading Caslon bold italic 22/22 For fun I like to Jump Cars While Reading Caslon black 22/22 Caslon was a typeface designed by William Caslon in 1734 and was extremely popular in the early 18th century. Many looked to Caslon as the model of good typography. Highly regarded for its personality while still being stylish and having lots of variety. It was strongly revived in the late 19th century, producing many versions Caslon Book 12/14 Caslon was a typeface designed by William Caslon in 1734 and was extremely popular in the early 18th century. Many looked to Caslon as the model of good typography. Highly regarded for its personality while still being stylish and having lots of variety. It was strongly revived in the late 19th century, producing many versions Caslon book 10/12 Caslon was a typeface designed by William Caslon in 1734 and was extremely popular in the early 18th century. Many looked to Caslon as the model of good typography. Highly regarded for its personality while still being stylish & having lots of variety. It was strongly revived in the late 19th century, producing many versions Caslon book 9/11 Caslon was a typeface designed by William Caslon in 1734 and was extremely popular in the early 18th century. Many looked to Caslon as the model of good typography. Highly regarded for its personality while still being stylish and having lots of variety. It was strongly revived in the late 19th century, producing many versions Caslon bold 10/11 Caslon was a typeface designed by William Caslon in 1734 and was extremely popular in the early 18th century. Many looked to Caslon as the model of good typography. Highly regarded for its personality while still being stylish and having lots of variety. It was strongly revived in the late 19th century, producing many versions Caslon italic 11/12
caslon comparison page 16 caslon comparison page 17 ACEF caslon ACEF sabon ACEF baskerville Kabefogm caslon Kabefogm sabon Kabefogm baskerville Kabefogm weiss
centaur page 18 centaur page 19 Centaur Regular Big Centaur regular 26/26 while reading a quote by Centaur regular italic 26/28 Centaur bold 26/26 for fun i like to jump cars albert einstein Centaur small caps 26/18 For fun I like to Jump Cars While Reading A Quote By Centaur swash capitals 24/28 Wwyzxv ioghj Centaur expert 26/26 Centaur is an old style serif typeface originally drawn as titling capitals by Bruce Rogers in 1914 for the Metropolitan Museum of Art. The typeface is based upon several Renaissance models. Rogers primary influence for the Roman was Nicholas Jenson s 1475 Laertis, considered the model for the modern Roman alphabet. Centaur regular 12/14 Centaur is an old style serif typeface originally drawn as titling capitals by Bruce Rogers in 1914 for the Metropolitan Museum of Art. The typeface is based upon several Renaissance models. Rogers primary influence for the Roman was Nicholas Jenson s 1475 considered the model for the modern Roman alphabet. Centaur regular 10/12 Centaur is an old style serif typeface originally drawn as titling capitals by Bruce Rogers in 1914 for the Metropolitan Museum of Art. The typeface is based upon several Renaissance models. Rogers primary influence for the Roman was Nicholas Jenson s 1475 Laertis, considered the model for the modern Roman alphabet. Centaur regular 9/11 centaur is an old style serif typeface originally drawn as titling capitals in 1914 for the metropolitan museum of art. the typeface is based upon several renaissance models. rogers primary influence for the roman was nicholas jenson s 1475 laertis, considered the model for the modern roman alphabet. Centaur small caps 10/10 Centaur is an old style serif typeface originally drawn as titling capitals in 1914 for the Metropolitan Museum of Art. The typeface is based upon several Renaissance models. Centaur italic 12/14 Centaur was originally drawn as titling capitals by Bruce Rogers in 1914 for the Metropolitan Museum of Art. The typeface is based upon several Renaissance models. Centaur italic 12/14
Clarendon page 20 Clarendon page 21 Clarendon Roman quote by Clarendon Roman 22/24 quote by Clarendon light 22/24 Clarendon Semi bold 20/22 For fun I like to jump cars while reading a quote by Clarendon bold all caps 24/26 I like to jump Clarendon roman 42 Clarendon is an English slab-serif typeface that was created in England by Robert Besley for the Fann Street Foundry in 1845. Besley went as far as trying to patent the typeface, though this failed. The original matrices and punches remained at Stephenson Blake & latterly at the Type Museum, London. Clarendon Regular 12/14 Clarendon is an English slab-serif typeface that was created in England by Robert Besley for the Fann Street Foundry in 1845. Besley went as far as trying to patent the typeface, though this failed. The original matrices and punches remained at Stephenson Blake and latterly at the Type Museum, London. Clarendon Regular 10/12 Clarendon is an English slab-serif typeface that was created in England by Robert Besley for the Fann Street Foundry in 1845. Besley went as far as trying to patent the typeface, though this failed. The original matrices and punches remained at Stephenson Blake and latterly at the Type Museum, London Clarendon Regular 9/11 Clarendon is an English slab-serif typeface that was created in England by Robert Besley for the Fann Street Foundry in 1845. Clarendon Regular all caps 10/12 Clarendon is an English slab-serif typeface that was created in England by Robert Besley for the Fann Street Foundry in 1845. Clarendon LIGHT all caps 10/12
garamond page 22 garamond page 23 Garamond Large Garamond 26/38 while reading a quote by Albert Einstein. Garamond italic 22/24 Garamond bold 24/26 for fun i like to jump quote by albert einstein. Garamond small caps 24/26 Garamond bold italic 24/26 Garamond is the name given to a group of old style serif typefaces named for Claude Garamond. Garamond s letterforms convey a sense of fluidity and consistency. Some unique characteristics in his letters are the small bowl of the a and the small eye of the e. Long extenders and top serifs have a downward slope. Garamond regular 12/14 Garamond is the name given to a group of old style serif typefaces named for Claude Garamond. It s letterforms convey a sense of fluidity and consistency. Some unique characteristics in his letters are the small bowl of the a and the small eye of the e. Long extenders and top serifs have a downward slope. Garamond regular 10/12 Garamond is the name given to a group of old style serif typefaces named for Claude Garamond. It s letterforms convey a sense of fluidity and consistency. Some unique characteristics in his letters are the small bowl of the a and the small eye of the e. Long extenders and top serifs have a downward slope. Garamond regular 9/11 some unique characteristics in letters are the small bowl of the a and the small eye of the e. Garamond caps 10/12 Garamond s letterforms convey a sense of fluidity and consistency. Some unique characteristics in his letters are the small bowl of the a and the small eye of the e. Garamond italic 12/14 Garamond s letterforms convey a sense of fluidity and consistency. Some unique characteristics in his letters are the small bowl of the a and the small eye of the e. a Garamond Bold 12/14
garamond vs sabon page 24 ABCDEF GKMP abefgjkmrt Garamond ABCDEF GKMP abefgjkmrt sabon garamond vs sabon page 25 EFGM Garamond EFGM sabon E E Garamond Sabon
goudy page 26 goudy page 27 Goudy Regular Goudy 24/24 Goudy italic 24/26 goudy bold 22/24 Goudy Bold Italic 24/24 For fun I like to jump cars while reading a quote by Goudy caps 24/24 Goudy is an old-style serif typeface originally created by Frederic W. Goudy for American Type Founders n 1916. Suitable for both text and display applications, Goudy 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 period, colon and exclamation point, and the sharply canted hyphen. The uppercase italic Q has a strong calligraphic quality. Goudy 12/14 Goudy is an old-style serif typeface originally created by Frederic W. Goudy in 1916. Goudy is a graceful, balanced design with eccentricities, including the upward-curved ear on the g and the shape of the dots of the i, j, and the points found in the period, colon and exclamation point, and the hyphen. Goudy 10/12 Goudy is an old-style serif typeface originally created by Frederic W. Goudy in 1916. Goudy is a graceful, balanced design with eccentricities. The upward-curved ear on the g and the shape of the dots of the i, j, and the points found in the period, colon and exclamation point, and the sharply canted hyphen. Goudy 9/11 Goudy is a graceful, balanced design with eccentricities, including the upward-curved ear on the g and the shape of the dots of the i, j, and the points found in Goudy bold 10/12 Goudy is a graceful, balanced design with eccentricities, including the upward-curved ear on the g and the shape of Goudy italic 10/12 Goudy is a graceful, balanced design with eccentricities, including the upward-curved ear on the g and the shape Goudy bold italic 10/12
goudy comparison page 28 goudy big page 29 ACEFGKNMP RUWabefgjkmrtwx Goudy ACEFGKNMP RUWabefgjkmrtwx Baskerville ACEFGKNMP RUWabefgjkmrtwx Weiss ACEFGKNMP RUWabefgjkmrtwx sabon ACEG JLMP RTW adfgijkp rtuy
Meridien page 30 Meridien page 31 Meridien Large Meridien 24/26 Meridien italic 24/26 Meridien bold 24/26 quote by Meridien medium 24/26 Meridien bold italics 24/26 Méridien, a glyphic old style serif text face was released. The face shows inspiration of the work of Nicholas Jenson, and in Méridien Frutiger s ideas of letter construction, unity, and an ever-present organic quality of form are first expressed together. Meridien 12/14 Méridien, a glyphic old style serif text face was released. The face shows inspiration of the work of Nicholas Jenson, and in Méridien Frutiger s ideas of letter construction, unity, and an everpresent organic quality of form are first expressed together. Meridien 10/12 Méridien, a glyphic old style serif text face was released. The face shows inspiration of the work of Nicholas Jenson, and in Méridien Frutiger s ideas of letter construction, unity, and an ever-present organic quality of form are first expressed together. Meridien 9/11 Méridien s letter construction, unity, and an ever-present organic quality of form are first expressed together. Meridien small caps 10/12 Méridien s letter construction, unity, and an ever-present organic quality of form are first expressed together. Meridien italic 12/14 Méridien s letter construction, unity, and an ever-present organic quality of form are first expressed together. Meridien bold 12/14
sabon page 32 sabon page 33 Sabon Roman sabon 24/26 Sabon italic 24/26 Sabon Bold 24/26 for fun i like to jump cars albert einstein. Sabon small caps 22/20 Sabon is the name of an old style serif typeface designed by the German born typographer and designer Jan Tschichold in the period 1964 1967. Sabon 12/14 Design of the roman is based on types by Claude Garamond particularly a specimen printed by the Frankfurt printer Konrad Berner. Berner had married the widow of a fellow printer Jacques Sabon, the source of the face s name. The typeface is frequently described as a Garamond revival. Sabon 10/12 Design of the roman is based on types by Claude Garamond particularly a specimen printed by the Frankfurt printer Konrad Berner. Berner had married the widow of a fellow printer Jacques Sabon, the source of the face s name. The typeface is frequently described as a Garamond revival. Sabon 9/11 sabon is the name of an old style serif typeface designed by the German born typographer and designer Jan Tschichold in the period 1964 1967. Sabon small caps 10/12 Sabon is the name of an old style serif typeface designed by the German born typographer and designer Jan Tschichold in the period 1964 1967. Sabon italic 12/14 Sabon is the name of an old style serif typeface designed by the German born typographer and designer Jan Tschichold Sabon bold italics 24/26 Sabon bold 12/14
weiss page 34 Weiss page 35 Weiss Big Large Weiss 26/28 while reading a quote by Weiss italic 22/24 Weiss Bold 24/24 Weiss extra bold 24/26 Weiss all caps 18/20 Rudolf Weiss designed this typeface in 1926 for the Bauer foundry of Frankfurt. Weiss is based on typefaces from the Italian Renaissance, and is one of the earliest contemporary serif types to have italics based on the chancery style of writing. The vertical strokes that are heavier at the top than at the bottom are unusual, and give Weiss a distinct beauty. Weiss is a legible text type and an elegant display face for headlines or titles. Weiss 12/14 Rudolf Weiss designed this typeface in 1926 for the Bauer foundry of Frankfurt. Weiss is based on typefaces from the Italian Renaissance, and is one of the earliest contemporary serif types to have italics based on the chancery style of writing. The vertical strokes that are heavier at the top than at the bottom are unusual, and give Weiss a distinct beauty. Weiss is a legible text type and an elegant display face for headlines or titles. Weiss 10/12 Rudolf Weiss designed this typeface in 1926 for the Bauer foundry of Frankfurt. Weiss is based on typefaces from the Italian Renaissance, and is one of the earliest contemporary serif types to have italics based on the chancery style of writing. The vertical strokes that are heavier at the top than at the bottom are unusual, and give Weiss a distinct beauty. Weiss is a legible text type and an elegant display face for headlines or titles. Weiss 9/11 Rudolf Weiss designed this typeface in 1926 for the Bauer foundry of Frankfurt. Weiss is based on typefaces from the Italian Renaissance Weiss bold 10/12 Rudolf Weiss designed this typeface in 1926 Weiss is based on typefaces from the Italian Renaissance flfi Weiss all caps 10/12 Rudolf Weiss designed this typeface in 1926 for the Bauer foundry of Frankfurt. Weiss is based on typefaces from the Italian Renaissance Weiss italics 10/12
serif o s page 36 Baskerville Bembo Bodoni bookman Caslon centaur clarendon garamond Goudy Meridien sabon Weiss