Garamond
- 1530
- French renaissance punch cutter Claude Garamond
- Features large counters in a and e
- Often associated with elegance and readability
- Suitable for a range of jobs.
Caslon
- Cropped apex of A
- High, horizontal crossbar of e
- C has double serif
- Italic V,W,A may appear to be falling over
- Bowl curve of italic p overlaps stem
- Long serifs on middle arm of E
- Long arm on L
- Bottom arm longer on Z
- Narrow c has low stress
- Large loop on k
- T has long serifs tapering out from thin arms, lower at centre
Baskerville
- tail on lowercase g does not close
- swash-like tail of Q
- small counter of italic e compared to italic a
- J well below baseline
- high crossbar and pointed apex of A
- top and bottom serifs on C
- W and w have no middle stroke
- long lower arm of E
- Many version feature a calligraphic J
- T has wide arms
Bodoni
- easily recognizable Romantic typeface
- vertical stress
- slight serif bracketing
- cupped top serifs on b,h,l, not parallel to baseline in some versions
- top & bottom serifs on C
- vertical tail of Q
- small upper bowl of g
- usually no middle serif on w
- large ball terminal of c
- Clarendon's very commonly used as a headline font, despite its origins as a text font
- Its modern redrawings from today's type designers have given Clarendon a far more balanced use between body type, italics and headlines alike.
- Like other slab serifs it has strong squared serifs but with an added softness from the curved brackets
- Has a low contrast, the difference in width between the thicker and thinner parts of the letterform.
- These features are part of what gives Clarendon its strength, they are why it gives off feelings of importance and substance.
- They make it a typeface that is hard to ignore.
Berthold
- First published Akzidenz-Grotesk in 1898
- Originally named “Accidenz-Grotesk”
- originates from Royal Grotesk light by royal type-cutter Ferdinand Theinhardt
- tail of Q does not cross the circle
- J does not descend below baseline
- weird right-angle bar and spur at base of G (like Helvetica)
- middle of M descends to baseline
- single-story g (no lower ball)
- square dots on i and j
- double-story a
- i is just a straight line
- lacks Helvetica's tail on the R
- 1932
- created for the times newspaper
- used ‘monotype plantin 113’ as a basis
- Used for a classic yet practical look
- combines legibility with economy
- Used regularly in books and newspapers
- Not very suitable for on screen use
Helvetica
- Late 1950’s,
- the most neutral typeface based on ‘Akzidenz Grotesk’ typeface.
- Large x height,
- large counters in ‘O, Q and C’
- two-storied a (with curves of bowl and of stem)
- narrow t and f
- square-looking s
- bracketed top serif of 1
- rounded off square tail of R
- more stroke modulation than Helvetica
- squaring of round strokes
- two-storied a is the most distinctive letter, with a straight back, no baseline curl, and perpendicular connection at top of bowl
- G lacks Helvetica spur
- diagonal strokes of k meet at stem
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