humanist/ old style serif 30a goudy goudy old style (also known as just goudy) is an old-style...
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30Good Typefaces
Humanist/Old Style Serif Adobe Garamond GaramondGoudyHoefler
Transitional Serif BaskervilleCaslonMinionMrs.EavesPerpetuaTimes New Roman
Modernist Serif BodoniDidotWalbaum
Slab SerifCentury Schoolbook ClarendonRockwell
Sans SerifAkzidenz Grotesk Bell GothicFranklin Gothic FrutigerFuturaGill SansHelveticaHelvetica Neue Meta MyriadNews GothicTrade GothicUniversVerdana48pt Franklin Gothic Demi
680pt Adobe Garamond
Adobe Garamond
Adobe Garamond™ was designed by Robert Slimbach in 1989. The ro-man weights were based on the true Garamond, and the italics on those of punchcutter Robert Granjon. This
font has been expanded to include small caps, titling caps, expert fonts, and swash caps, which were typical in the fifteenth and sixteenth centuries.
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
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Humanist/Old Style Serif
aGaramondClaude Garamond, a Frenchman, designed the Garamond typeface in the 1500s. It is a Humanist serif face, which means that it was designed with rounded, organic characteris-
tics that echoes handwritten letters. Its contrast between thin and thick strokes is less than a Transitional type-face like Baskerville, but more than most sans serif faces.
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
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Humanist /Old StyleSerif
NOTE THE EXAMPLES OF POOR PATH QUALITY WHICH INDICATE THAT THIS IS AN INFERIOR (PROBABLY AUTOTRACED) VERSION OF GARAMOND –DO NOT USE IT.
aGoudyGoudy Old Style (also known as just Goudy) is an old-style classic serif typeface originally created by Frederic W. Goudy for American
Type Founders (ATF) in 1915. Certain of its attributes—most notably the gently curved, rounded serifs of certain glyphs—suggest a Venetian influence.
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
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Humanist/Old Style Serif
aHoeflerDesigned by Jonathan Hoefler in 1991, Hoefler Text is a contempo-rary serif Antiqua font that was designed for Apple Computer to
demonstrate advanced type tech-nologies. It takes cues from a range of classic fonts, such as Garamond and Janson.
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Humanist Serif
aBaskervilleBaskerville is a transitional serif typeface designed in 1757 by John Baskerville (1706–1775) in Bir-mingham, England. Baskerville is classified as a transitional typeface,
positioned between the old style typefaces of William Caslon, and the modern styles of Giambattista Bodoni & Firmin Didot.
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
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Transitional Serif
aCaslonCaslon is a group of serif typefaces designed by William Caslon I (1692–1766), and various revivals thereof. Caslon shares the irregular-ity characteristic of Dutch Baroque
types. It is characterized by short ascenders and descenders, bracketed serifs, moderately high contrast, robust texture, and moderate modulation of stroke.
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
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Transitional Serif
aMinionMinion is a digital typeface de-signed 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 brevier. It is inspired by late Renaissance-era type.
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Transitional Serif
aMrs.EavesMrs Eaves is a transitional serif typeface designed by Zuzana Licko in 1996, and licensed by Emigre, a typefoundry run by Licko and
husband Rudy VanderLans. Mrs Eaves is named after Sarah Eaves, the woman who became John Baskerville’s wife.
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
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Transitional Serif
aPerpetuaPerpetua is a typeface that was designed by English sculptor and typeface de-signer Eric Gill (1882–1940).Though not designed in the historical period of
transitional type, Perpetua can be classi-fied with transitional typefaces because of characteristics such as high stroke contrast and bracketed serifs.
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
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Transitional Serif
aTimes New Roman
Times New Roman is a serif type-face commissioned by the British newspaper The Times in 1931, created by Victor Lardent. It was
commissioned after Stanley Morison had written an article criticizing The Times for being badly printed and typographically antiquated.
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Transitional Serif
aBodoniBodoni is a series of serif type-faces first designed by Giam-battista Bodoni (1740–1813) in 1798. The typeface is classified as Didone modern. Bodoni followed
the ideas found in the printing type Baskerville: increased stroke con-trast and a more vertical, slightly condensed, upper case; but took them to a more extreme conclusion.
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
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Modernist Serif
aDidotAlong with Giambattista Bodoni of Italy, Firmin Didot is credited with designing and es-tablishing the use of the “Mod-ern” classification of typefaces.
The types that Didot used are characterized by extreme contrast in thick strokes and thin strokes, by the use of hairline serifs and by the vertical stress of the letters.
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Modernist Serif
aWalbaum
Designed in the early 1800’s by Justus Walbaum. Its verti-cal stress, and fine hairlines contrast with bold of typical
Modern fonts, yet Walbaum has many unique character quirks that make it open, warm, and very graceful.
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Modernist Serif
aCenturySchoolbook
Century is a family of type faces derived from the original Century Roman cut by Ameri-can Type Founders designer Linn Boyd Benton in 1894.
Despite originating in the nine-teenth century, use of the type-face remains strong, for periodi-cals, textbooks, and literature.
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
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Slab Serif
aClarendon
Clarendon is an English slab-serif typeface that was created in England by Robert Besley in 1845. The font was used exten-sively by the government of the
German Empire for proclamations during World War I, and was also common in wanted posters of the American Old West.
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
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Slab Serif
aRockwell
The original Rockwell was produced by the Inland type-foundry in 1910, with Morris Fuller Benton cutting several
new weights in the 1920s. Rock-well is a geometric slab serif, a strong display face for headlines and legible in short text blocks.
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU-VWXYZ 1234567890
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU-VWXYZ 1234567890
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
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Slab Serif
aAkzidenzGrotesk
Akzidenz-Grotesk is a grotesque (early sans-serif) typeface origi-nally released by the Berthold Type Foundry in 1896 under the
name Accidenz-Grotesk. It was the first sans serif typeface to be widely used and influenced many later neo-grotesque typefaces after 1950.
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abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU-VWXYZ 1234567890abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
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Sans Serif
aBell GothicBell Gothic is a realist sans-serif typeface designed by Chauncey H. Griffith in 1938 while heading the typographic development program at the Mergenthaler Linotype
Company. The typeface was com-missioned by AT&T as a proprietary typeface for use in telephone direc-tories.
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
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Humanist Sans Serif
aFranklinGothic
Franklin Gothic and its related faces are realist sans-serif type-faces originated by Morris Fuller Benton (1872–1948) in 1902. “Gothic” is an increasingly
archaic term meaning sans-serif. Franklin Gothic has been used in many advertisements and head-lines in newspapers.
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
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Sans Serif
aFrutiger
Frutiger is a sans-serif typeface by the Swiss type designer Adrian Frutiger. It was commissioned in 1968 by the newly built Charles de Gaulle International Airport at
Roissy, France, which needed a new directional sign system. Instead of using one of his previously designed typefaces like Univers, Frutiger chose to design a new one.
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abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
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Sans Serif
aFuturaFutura 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.
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Geometric Sans Serif
aGill SansThe successful Gill Sans was issued by Monotype in 1928 to 1930. The roots of Gill Sans can be traced to the typeface that Gill’s teacher,
Edward Johnston, designed for the signage of the London Underground Railway in 1918.
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
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Humanist Sans Serif
aHelveticaHelvetica was developed in 1957 by Max Miedinger with Eduard Hoffmann. The aim of the new design was to create
a neutral typeface that had great clarity, had no intrinsic meaning in its form, and could be used on a wide variety of signage.
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Sans Serif
aHelvetica Neue
Neue Helvetica is a rework-ing of the typeface with a more structurally unified set of heights and widths. Erik Spiekermann
was the design consultant (1983). Changes include improved legibility, heavier punctuation marks, and increased spacing in the numbers.
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
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Sans Serif
aFF Meta
FF Meta is a humanist sans-serif typeface family designed by Erik Spiekermann in 1986. Attention was paid to creating a face that
was a sturdy, basic sans serif eas-ily readable from an angle, and in smaller point sizes.
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
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Humanist Sans Serif
aMyriad Pro
Myriad is a humanist sans-serif typeface designed by Robert Slim-bach and Carol Twombly for Adobe Systems in 1992. Myriad is easily dis-
tinguished from other sans-serif fonts due to its special “y” descender (tail) and slanting “e” cut. Myriad is similar to Frutiger.
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
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Humanist Sans Serif
aNews Gothic
News Gothic is a realist sans-serif typeface designed by Morris Fuller Benton in 1908. The letter forms are compact, and descenders are
shallow. The typeface differs in its or-ganic shapes and subtle transitions of stroke width, all contributing to a less severe, humanist tone of voice.
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Sans Serif
aTrade Gothic
Trade Gothic is a sans-serif typeface first designed in 1948 by Jackson Burke. Trade Gothic does not display as much unify-
ing family structure as other sans-serifs (Futura, Helvetica, Univers, Frutiger), but this dissonance is typical of hand-worked typefaces.
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abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU-VWXYZ 1234567890
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTU VWXYZ 1234567890
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Sans Serif
UniversUnivers is the name of a realist sans-serif typeface designed by Adrian Frutiger in 1954. With Univers, Frutiger began using
numbers rather than names to designate variations of weight, width, and slope. The full Univers family consists of 21 typefaces
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Humanist Sans Serif
aVerdana
Verdana is a humanist sans-serif typeface designed by Matthew Carter for Microsoft Corporation. The large x-
height, wide proportions, large counters, and distinctions be-tween similarly-shaped char-acters increase legibility.
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Sans Serif