Vox Classification
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Transcript of Vox Classification
Short examination of Vox - classificationby Martin Franz
Martin Franz (126742)Internation Art & Technology
4th year - Indepth 5 February, 2012
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Introduction
Vox - ATypI - classification
Humanist
Didones
Mècanes
Linèares
Geraldes
Rèales
Manuaires
Scriptes
Incises
Blackletter
Non-Latin
Modern Western
References
Table of contents
Typography is among other
different graphical elements one
of the key factors in advertising. In
terms of graphic design it means
to choose the right typeface fitting
into the mood of the artwork.
What is typography?
Typography is the arrangement
and design of letterforms and of
them in two-dimensional space
(for print media) , three-dimen-
sional for art and in space and
time (for digital media). For all
art, print and digital media, visual
communication professionals
must consider the fundamental
issues of form and structure,
design, message or content,
and expression.(1)
Looking back into the history of
advertising the typography made
an enormous step forward in the
matter of importance, although it
is basically just the order of
presenting and styling written
information. Nowadays typogra-
phy is all around us. Whether it
is in newspapers, websites, and
advertising or even at the
packaging of goods in the
supermarket – typography is
everywhere. It is a stylistic device
transferring more than just
information. Choosing the right
type can transfer a mood, an idea
a way of living and often leads
the costumer to identify with a
product or company.
`Good typography is invisible /Bad typography is everywhere`
Introduction
1 - Typography
The VOX classification shows a
possibility to classify typefaces in
eleven general classes.
Maximilian Vox, the inventor of this
in 1954 devised system revised
his original proposal just a coup-
le of month later and created a
more compact nine-part scheme.
The `Association Typographique
Internationale` (ATypI) adopted his
arrangement in 1962.
A couple of years later in 1967 the
`British Standards Classification of
Typefaces` set up their more basic
interpretation onto Vox’ classifica-
tion.
The intention of the classifi-
cation is to group typefaces
according to their characteristics.
Decision criteria were the century
they were developed in, down-
stroke and upstroke, forms of serif,
stroke axis, height and many more.
Not only the massive amount of
typefaces also the diversity of
them makes it hard to put eve-
ry type into the right segment.
That being the case typefaces
can due to their attributes also
be part of more than one group.
Of course this classification is
not static and will be amen-
ded within the next years. In
2010 the `AtypI` decided to add
`Gaelic` to the calligraphic group.
VOX – ATypI classification
2 - VOX - classification
The Humanistic typefaces were
created by Venetian printers and
appeared during the 1460s and
1470s. At this time the Renaissance
characterized Europe. The Humanist
types were at the same time the first
Roman, which were developed by
Italian writer, like Nicolas Jenson
has been one. In his first work he
developed the roman lowercase
letter by imitating handwriting to
the style that has remained in use
throughout subsequent centuries of
printing.
This type should be a contrast to
the prevalent dark gothic scripts.
It should display more open and
lighter forms. These typefaces are
mainly inspired by the Carolingian
minuscule. Taking a closer look at
the characteristics the sloping cross-
bar on the lowercase `e` is obvious.
Next to a variation in stroke width,
which is visible in the low contrast
between thick and thin strokes also the
x-height of the fonts is relatively low.
This small height often leads to fee-
ling of a dark colour type, because
the spacing in between lines is often
small.
One uniqueness created the term
`Humanist axis`, describing “huma-
nist fonts (serif or sans) have an axis
resulting from the angle of the pen
nib when producing calligraphy. This
axis is between 25° and 45°. They
tend to look more like they are done
by humans instead of machines. This
is one of the main reasons why they
seem so „comfortable“.(2) The Huma-
nist typefaces are a bit out-dated the-
se days. The last revival has been with
the beginning of the early twentieth
century. In a sense it can be said that
this typography is the forefather of
lots of typefaces we are seeing right
now. Due to the fact that this typeface
was developed shortly after Guten-
berg letterpress invention it is secure
that this was one of the first ever.
Examples: Jenson, Centaur, Verona,
Lutetia, Jersey, Lynton, Perpetua
Humanist (Humanes)
3 - Humanist
1470 Jenson Semi Bold1543 Humane Jenson Bold
Lynton LightPack my box with five dozen liquor jugs
Centaur RegularPack my box with five dozen liquor jugs
`Humanist - axis`Upper-right stress
Sloping crossbar
Lynton Lynton
- CLASSIQUES - ASHLEY / DE ROSS - HUMANES
Didones is next to the mecha-
nistic and linear categories part
of the `Moderns`. `Didones` and
`Moderns` are synonymously used in
terms of typography .
The Frenchman and type-
founder Firmin Didot was the first
publishing a Modern typeface.
Shortly after having printed the first
pages with this new typeface an
Italian punch cutter and printer
invented a new and up to now
very well known type called
`Bodoni`. Giambattista Bodoni (1740-
1813) combined the influence of
Romains du Roi and John Basker-
ville coining the `Moderns` with
some of their typical characteristics.
These types, dating from the end
of the 18th century up to the first
quarter of the 19th century are known
for a very strong contrast between
thick and thin strokes. The influence
of Baskerville and Romains du Roi
got visible by a high contrast and
unbracketed hairline serifs. In ad-
dition the verticality and the small
aperture within the `e’ is
obvious while examining these
Didones typefaces.
Allowing the moderns enough space
and place to breath they can evolve
their elegant shape, which leads us
controlled and calm from line to line.
Nowadays the ‘Didones‘ types are
regularly visible in connection to
fashion. One of the biggest and most
famous fashion magazines - VOGUE
- is using it for their logo and head-
line, as well as the jewellery label
‘Cartier’. The choice of these high
quality labels, underlines again the
elegance of the type.
Examples: ITC Bodoni, Didot
Didones (Moderns)
4 - Didones
Didot LT Std RomanDidot LT Std HeadlineDidot LT Std ItalicDidot LT Std Bold
Bodoni XT Regular
Vertical stem
Full stroke
Connecting stroke
Vertical axis
Unbracketed, hairline serifs
Small aperture
- MODERNS - CENTURY / BELL - DIDONES
The Mécanes have their foundations
in the early 19th century. In coinci-
dence with the Industrial Revolution
and the development of the steam
press (1814) the birthplace of this new
typeface was Britain. Due to the me-
chanisation (mechanic – French: mé-
canicien) printers and advertiser had
the sense to make a difference to the
fonts mainly focussed on longer texts
or books. Their intention was to create
something outstanding, eye-catching
and simply noticeable mainly for short
amount of copy.
Putting the focus on the characte-
ristics we will find rectangular slab
serifs combined with a very low
contrast. The upper and lower serifs
are identic. Comparing that to the
`Didones` font, Mécanes gives the im-
pression of being copied with a more
extended difference between thick
and thin strokes.
The Mécanes – category includes both,
bracketed (iconis, clarendon) and
unbracketed serifs like the Egyptians.
The Slab Serifs were the foundation
for further groups of this typographic
style, namely the Fat Face, which was
designed by Robert Thorne (1800)
and in the mid 1800s `Clarendon`.
Like with every other advancement
there were made some amends. The
x-height was set up for a better legi-
bility and the contrast was reduced.
Today we find Slab Serifs in TV
series like Lost and Hollywood movies
(American Beauty). Also in one of the
most popular advertising campaigns
- I ♥ NY - Milton Glaser took with
ITC American Typewriter a modern
Mécanes font.
Examples: Archer, Clarendon, Ionic,
Rockwell, Corporate ASE, Joanna
Mécanes (Egyptian, Slab Serif, Antique)
5 - Mécanes
Clarendon LT Std LightClarendon LT STD RomanClarendon LT STD Bold
Rockwell Std LightRockwell Std ItalicRockwell Std BOLD
Similar bracketed serifsDifferences in stroke
Identic unbracketed, hairline serifs
ITC American Typewriter LT Medium
Clarendon Rockwell
100%
143%
- MODERNS - CENTURY / CITY - MÈCANES
The linear typeface has its source
in the 19th century. In the modern
typography the `Linéales` are often
called `Geometric` counting to the
round-arched serifs of roman origin.
With the beginning of the 19th century
young scientists influenced the West-
European culture with new historical
insights, which directly got mirrored
in the design of typefaces.
Starting in the 1780s under the
influence of the Classicism and Ratio-
nalism architects and engineers used
sans-serif, linear majuscule script for
their sketches and plans. Due to the
matter-of-fact way and their simple
typometry this type has often
been used to engrave and press
in an industrial relationship. Short-
ly after it got used for house num-
bering and as a font for signs in
the early 19th century in London.
`Grotesque` or in German `Grotesk`
arose like the Egyptian (Mécanes)
typeface according to the increasing
demand of striking advertising fonts.
Especially in England Grotesque-
fonts got famous for eye-catching no-
tifications and advertising. At this time
the typeface was only published in a
strong manner; nowadays we have
the additional choice of `Ultra-Light`
or `Italic`.
The popularity came with the inventi-
on of the Internet. Sans-Serif-types are
very often used for website occurring
in a vast amount of different types.
´Linéales’, referring to the characteris-
tics, differ from other typefaces by the
absence of serifs and by their round-
arched and geometrical (circles, rect-
angles) outlook. Taking a first look the
reader gets the feeling that all strokes
are of the same thickness, but this is
not true. There are slight changes
integrated giving the feeling of unifor-
mity, which is visible at the transitions
of the rounding’s.
Examples: Gill Sans, Akzidenz-Grotest,
Helvetica, Arial, Futura, Frutiger
Linéaires (Linéales, Sans-Serif, Antique, Grotesk)
6 - Linéaires
Helvetica Light Helvetica Light Oblique Helvetica Regular Helvetica ObliqueHelvetica Bold Helvetica Bold Oblique
Gill Sans - Pack my box with five dozen liquor jugsAkzidenz Grotesk - Pack my box with five dozen liquor jugs
Frutiger - Pack my box with �ve dozen liquor jugs
Futura - Pack my box with five dozen liquor jugsArial - Pack my box with five dozen liquor jugs
Geometric shapes - circle
Geometric shapes - rectangle
Differences in stroke
100%
150%
- MODERNS - PARIS / CITY - LINÉALES
`Garaldes` has its origins in the
Renaissance Humanism. The name of
this classification is a mix of the two
designers, who are mainly respon-
sible for it. On the one hand we have
Claude Garamond (ca. 1490–1561)
a French putter and on the other
side Aldus Manutius (1447-1515), a
Venetian typographer. The `Monotype
Bembo` has been the first font ranged
in the `Old Style` around 1495 in Italy,
followed by the `Stempel Garamond`
around 1540, which got published in
France.
Generally the `Geraldes` is conside-
red as a warm and friendly typestyle,
having finer proportion than the
Humanists and a conspicuous stron-
ger contrast between down- and
upstroke. Influenced by a certain
handwriting style the serifs are
mostly bracketed, cove or wedge-
shaped and the typeface in ge-
neral shows a low contrast.
Another specialty we already found
at the group of the `Humanist` – the
`Humanist Axis` is coming around in
the `Geraldes` again, especially visib-
le at the `o`, which has an upper-right
stress. As we already examined before
the Humanist typefaces are part of the
‘Calligraphic’. The `Geraldes` are of-
ten ranged in the same classification,
although they show a higher sophis-
tication, which can be seen as a result
of the increasing skills of punchers.
Another very important development
has been made 1501, right in the time
of `Garaldes` (Old Style). The very first
italic type has been design, especially
for small formats and pocket books.
Today `BP` and `Shell`, the two big-
gest oil companies are using a kind of
Garamond for their corporate identity.
Also `Apple` took a alternated version
of if for branding years ago.
Examples: Garamond, Bembo, Goudy
Old Style, Palatino
Garaldes (Garald, Aldine, Old Style)
7 - Garaldes
Stempel Garamond Roman
Bembo ItalicBembo Semibold
Bembo Extrabold ItalicBembo Bold Italic
Palatino - Pack my box with five dozen liquor jugsPalatino - Pack my box with five dozen liquor jugs
Goudy Old Style - Pack my box with five dozen liquor jugs
Goudy Old Style - Pack my box with five dozen liquor jugs
Perpetua - Pack my box with five dozen liquor jugsPerpetua - Pack my box with five dozen liquor jugs
Upright stress
Wedged - shaped serifs
Horizontal cross bar
- CLASSIQUES - DE ROSS / GRANDJEAN - GARALDES
For examining the `Rèales` or `Transi-
tional` we have to go back to the age
of enlightenment in the 18th century.
A time, which has been determined
by the French and American Revo-
lution. One of the most influential
examples is Philippe Grandjean‘s
“Romain du Roi” (King’s Roman) for
the French Crown, in person Louis XIV
around 1702.
As the name already says the `Tran-
sitional’ should be an intermediate
between the modern and the old
style types. So this one should de-
tach from the `Garaldes` (Old Style)
and all the traditions connected to it.
Jacques Jaugeon, at this time mem-
ber of the `French Academy of
Science` developed fonts at the basis
of a 48x48 grid, outlining a very sci-
entific approach to remove the hand-
written influences.
Before taking a closer look at the
characteristics another very impor-
tant name has to be mentioned in
relationship with the `Transitional`
typefaces – John Baskerville. By focus-
sing more on the spacing in-between
letters Baskerville earned a huge po-
pularity already within his lifetime.
After a meeting Benjamin Franklin
he took Baskerville’s type back to the
US, where it got used for the federal
government publishing.
Working out the `Transitional`
typefaces in comparison to the `Garal-
des` an even greater contrast between
strokes is recognisable. Furthermore
it can be noticed that the wedged-
shaped serifs are getting more ho-
rizontal and the upper right stress is
gone by finding vertical stems now.
Nowadays `Transitional` types are
often used for newspapers (The
Times) and became noticed due to
the fact that Apple and Microsoft
have some of them (Times) integrated
as a standard font.
Examples: Baskerville, ICT New Bas-
kerville, Prospect, Times Roman
Rèales (Realist, Transitional, Neoclassical)
8 - Rèales
Baskerville Bold ItalicBaskerville Semibold ItalicBaskerville Semibold
Baskerville Bold
Baskerville Italic Baskerville Regular
Vertical stem - no stress
Nearly vertical, but stillwedged-shaped serif
MComparison of old Romain du Roi and modern Baskerville font
High difference between strokes
- CLASSIQUES - BELL / GRANDJEAN - RÈALES
The `Manuaires` are based on hand-
drawn originals the early monks crea-
ted, where every letter is separated
from the other. Usually these types
were written with a brush or bold pen
at the highest accurate level. Due to
that this typeface is mainly used for
headlines and display instead for
body text.
In Maximilian Vox’s more compact
nine-part scheme he originally
included `Blackletter` and `Unicial
faces` into this category.
Having a closer look at the charac-
teristics of this typeface a standoff
regarding to the `Scriptes` is notice-
able. In contrast to the right slanted
letters we will find here vertical fonts
with handwritten characteristics.
Different directions having their
origins in the straight Antique and Ita-
lic, which are counteracting the static
by giving the fonts a certain move-
ment.
Using a broad tongue is showing a
well-kept word design whereas the
Redis-tongue and different brushes
are often used for heavy designs,
underlining the origin and authentici-
ty of the font designer.
Probably the most popular font in
this classification is `Fraktur`. This is a
further development of the `Schwa-
bacher` font combined with the skin-
niness of the Gothic era. Especially at
the capital letters the sparkling forms
are eye-catching.
Examples: Fraktur (different variations,
Bolide, Banco
Manuaires (Manual, Graphic)
9 - Manuaires
- ASHLEY / BALZAC - MANUAIRES
The beginning of the `Scriptes` is
dated back to the old times of the
Romans, where it was used for con-
tracts of purchase. Within the 16th
century the handwriting of the
`Humanists` lead to the `Cancelleresca
corrente` – the cursive script of the
Antiqua. In the following centuries
especially in European grapho-
masters and engravers refined this
typeface to perfection. To this date the
English and Italian scripts are unique
with its exact, fine brushes created
namely by writing-masters like Geor-
ge Bickham, George Shelley and
George Snell. A huge amount of
gentle, but also powerful scripts
made with divers feathers and
brushes were originated in the 20th
century.
Characterising this typeface we can
see letters often connected to each
other. Nearly all of them are written
with a quill having a strong slope
imitating the copperplate script.
As a platform the italic type can be
mentioned, seeing the `Scriptes` as a
more distinct form of them.
Today most of the time this typeface
is used for a minimal amount of text,
due to the fact that is hard to read a
whole text in this handwritten form.
Moreover a vertical stress is obvious.
In contrast to the `Rèales` the transi-
tion between the strokes is minimal.
Furthermore lots of typefaces related
to the `Scriptes` show at lowercase
letters and thick serifs.
The general outlook can be descri-
bed as elegant and decorative, giving
a personal touch to the copy, whether
in advertising or for personal use.
That’s why you can often see them
on Valentines Day cards or wedding
invitations.
Examples: Mistral, Shelley, Zapfino,
Lucida Handwriting, Künstler Script,
Calflisch Script, Dalliance, Cézanne
Scriptes (Script)
10 - Scriptes
Zapfino Extra LT OneZapfino Regular
Zapfino Extra LT Pro Regular
Mistral - Pack my box with five dozen liquor jugs
Künstler Script
Upper-right-stress
Thick serifs
Pack my box with five dozen liquor jugsDalliance MediumPack my box with five dozen liquor jugs
Mistral
Dalliance
- BALZAC / MERCURIUS - SCRIPTES
The `Incises` typeface finds its place
between the serif Renaissance and
the sans serif faces. Comparing them
to other classifications the `Glyphic`
are most of the time exclusively used
at printing types and often underre-
presented, whether in the modern
typography nor in the past. The name
arose from their reference of letters
being carved into stone.
In the mid 20th century they had their
revival, due to many individualistic
alphabets created for book covers
and posters. These by calligraphic
letterforms inspired designers were
mainly based in Germany, Nether-
lands, Austria and Britain.
The tradition of Dutch and English
mainly straight and angular letters
got loosened up with the input of the
German-speaking countries. Three
important names in connection to
this typeface are the Dutchman
Boudewijn Ietswaart, the British
Michael Harvey, who both stated the
post – 1945 book jackets and got
highly influenced by the German
designer Helmut Salden.
Looking for differences to the serif
based typefaces the `Incises` have
a flared stroke. Quite often the let-
ters are tapered in the middle and
altogether these changes can be
referred back to the `Verjüngung`
(German, `Verjonging – Dutch) or
literally known as the rejuvenation.
The proportions are close to the one
`Humanist` typefaces have.
Recognizable are `Incises` fonts by
their minimum contrast in stroke
weight and their triangular-shaped
serifs. The most known fonts in rela-
tion the `Glyphic` are Optima from
Hermann Zapf and Albertus from
Berthold Wolpe.
Example: Albertus, Optima, Quorum,
Cartier Book
Incises (Glyphic, Incise)
11 - Incises
Optima ItalicOptima Regular
Optima Extra BlackOptima Bold Italic
Pack my box with five dozen liquor jugs
triangular - shaped serifs
Albertus Medium
100 %95 %
Minimum contrast in stroke weight
- PARIS / MERCURIUS - INCISES
As seen in the `Vox-classification`
page the original arrangement of Vox
contained 9 groups. The ATypI added
two more classifications, the `Blacklet-
ters` and the `Non-Latins`, which you
will find at the following page. In the
earlier nine-part scheme `Blacklet-
ters` were included in the `Manuaires`
(Graphics).
The history of this font family is
stated back to the Western Euro-
pe in the mid 12th century and is
based on early manuscript lettering.
Furthermore the `Blackletter` typeface
was used in one of the first books
ever produced in Europe – the Gu-
tenberg Bible. That’s why it is often
called `the oldest of fonts` and intro-
duced a new era in typefaces for prin-
ting. With the start of the 15th century
`Blackletter` lost its popularity in a
broad area due to the fact that it is
hard to read as body text and other
typefaces (Roman, Italic) were easier
to print. Only Germany and the Ger-
man speaking countries stuck to this
typeface at this time.
Mentionable as characteristics are the
dramatic contrast between thin and
thick strokes. Letters are modelled
on late medieval handwritings with a
broad-nibbled pen, showing pointed
and angular forms. Lower case letters
often show a thin diagonal serif.
Nowadays this type can be found
at various platforms. As mentioned
before and regarding to its hard
legibility it can usually be found at
posters, headlines and signs. One
of the biggest newspapers of the
world, `The New York Times` is using
`Blackletter` as well as `Corona`, `Dis-
neyland` or the famous heavy metal
band `Motörhead’. Even rapper like
Snoop Dogg used it on the cover of
his `Rhythm and Gangsta` album.
Examples: Cloister Black, Deutsche
Zierschrift, Germanica, Old English
Blackletter
12 - Blackletter
Embossed Germanica Regular
Fluted Germanica Regular
Plain Germanica RegularShadowed Germanica Regular
Deutsche ZierschriftPack my box with five dozen liquor jugs
Pointed and angular forms thin diagonal serifs
Contrast thin and thick strokes
- ADDED BY ATYPI TO THE ORIGINAL NINE-PART-SCHEME
This classification summarizes all
writing systems not based on the La-
tin alphabet, like Greek, Cyrillic, He-
brew, Arabic, Chinese and many more.
Within this text I just want to give an
overview about the different historical
backgrounds these typefaces have.
The Greek script has been
used since the 8th century BC and is
consisting 24 letters instead of the in
Western and Middle Europe common
26 letters. Next to that the Greek let-
ters are very often used in terms of
military (alpha, beta, omega, …) it has
been the first alphabet providing a
written symbol per sound, whether for
vowels or consonants.
The development of Cyrillic typogra-
phy has its origins in the medieval sta-
ge up to the late Baroque. These Cyril-
lic letters are mainly with strokes often
close or connected to the following
letters.
The Hebrew script (Jewish script,
Square script, Block script) is making
a huge difference to others by reading
and writing it from the right to the left.
With its 22 letters the `Square script’
originally contained only consonants.
Later vowels were indicated with se-
parate vowel points and got nowadays
fully integrated in the modern usage.
The Arabic script (Arabic ab-
jad) is as the name already tells desi-
gned for writing the Arabic language.
Like the Hebrew script it is written from
right to left, often in a cursive style. The
alphabet includes 28 letters all stan-
ding for consonants, which is called
`abjad’.
Chinese typefaces are logograms and
the oldest continuously used system of
writing in the world. The ten thousand
characters comprehensive frame-
work provides mainly morphosyllabic
letters with an unambiguous meaning.
Over the years next to the traditional
Chinese a simplified Chinese develo-
ped making it easier to learn.
Non - Latin
13 - Non - Latin
Cyrillic
Hebrew script
Chinese
Arabic -
- ADDED BY ATYPI TO THE ORIGINAL NINE-PART-SCHEME
This text shall describe some of the
latest changes of the modern
typography.
The technical revolution of personal
computers made it possible to de-
sign your own, stylish typefaces. Font
designer are no longer limited to the
metal types by using vector or 3D pro-
grams like Illustrator or Cinema 4D.
Nowadays we can find lots of new very
attractive examples, whether used for
the art, videos and logo or for a who-
le brand identity. One example of this
is `Channel 4’ in England. They have
created a plain, but still 3D-looking
logo and build up their whole brand
experience around it. Especially in the
advertising world this campaign or re-
design proved popular. The basis for
these 3D examples are usually non-
calligraphically font, because their fine
and sometimes squirreled brushes are
too thin and too much for a nice 3D-
visualization.
Platforms like dafont.com or myfonts.
com provide space for amateur and
professional designers to present their
typographical ideas.
More examples for new type-classi-
fications are graffiti, theme-related
fonts (fire / ice) and typefaces not only
concentrating on the font itself, but
also on the surrounding. As usual you
will find some examples at the right
side underlining what I thought about.
The huge amount of already existing
fonts and the possibility to create
them way easier than it was in the past
will give us nearly uncountable oppor-
tunities in future. This of course will
make it more difficult for companies,
but also for designers, to find or create
something unique making a difference
to other companies and typefaces.
Modern Western
14 - Modern Western
This report was written inBooksSurhone, L.M., Tennoe, M.T., Henssonow, S.F. (2010), VOX - ATypI classification Betascript Publishing
Websites
http://www.atypi.org/
http://ilovetypography.com/2007/11/21/type-terminology-old-style/
http://www.graphic-design.com/Type/bergsland/humanist.html
http://www.paratype.com/help/term/terms.asp?code=147
http://www.letterfontain.nl
http://retinart.net/typography/blackletter/
http://www.sitepoint.com/the-blackletter-typeface-a-long-and-colored-history/
http://dynamicgraphics.com/dgm/Article/28549/index.html
http://www.plainlanguagenetwork.org/type/utbo130.htm
http://issuu.com/randynarvaez/docs/vox
http://vau-ef-be.beepworld.de/gebrochene.htm
http://www.typografie.info/2/wiki.php?title=Hausschriften-Liste
http://issuu.com/pbrenes/docs/librillo_tipografias_completo_sin_guias
References(1) Robin Landa, Graphic Design Solutions book, p. 74(2) http://www.graphic-design.com/Type/bergsland/humanist.html
GraphicsPage 04: http://www.fonts.com/NR/rdonlyres/C21D1D52-E711-48ED- BDDC-F90C05E99E63/0/FYTI_Anatomy.pdfPage 05: http://rocbo.chez-alice.fr/typo/img/vox_roue.jpgPage 17: http://www.designboom.com/weblog/cat/8/view/18961/3d- alphabet-shows-the-history-of-type.html
Sources
Avenir Next LT Pro 12ptThe quick brown fox jumps over the lazy dog and feels as
Avenir Next LT Pro 14ptThe quick brown fox jumps over the lazy dog and
Avenir Next LT Pro 16ptThe quick brown fox jumps over the lazy
Avenir Next LT Pro 18ptThe quick brown fox jumps over the
Avenir Next LT Pro 10ptThe quick brown fox jumps over the lazy dog and feels as he were in
Avenir Next LT Pro
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Aliquam erat vo-lutpat. Duis justo nibh, adipiscing non dapibus con-dimentum, ves-tibulum sit amet nulla. Nam soda-les. regular 12pt
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15 - Sources