Andreas is a humanist seriftypeface designed by Michael Harvey, and licensed from the Adobe Type library. Harvey drew the lettering in 1988 as part of the book-jacket design for James F. Peck's book In the Studios of Paris: William Bouguereau and His American Students, a Yale University Press publication. That lettering became the foundation for the 1986 typeface Andreas.
In keeping with the book's subject, Harvey wanted letterforms that reflected the Art Nouveau period. The letterforms also bear comparison with the condensed, calligraphic thirteenth-century Italian monumental capitals. Due to space constraints, the type had to be narrow enough to allow the title to fit on a single line across the top, so as to not intrude on the Van Gogh painting that filled the rest of the jacket. To accomplish this he drew the letterforms freehand, giving them highly animated organic strokes and narrow character set. He also added distinctive junctions of letter strokes to the D,P, and R. The typeface was drawn in outline, intending to reverse to white, so as to not be overly assertive on the cover.
Optima is a humanist sans-serif typeface designed by Hermann Zapf and released by the D. Stempel AG foundry, Frankfurt, Germany and released in 1958.
In typography and lettering, a sans-serif, sans serif, gothic, or simply sans letterform is one that does not have extending features called "serifs" at the end of strokes. Sans-serif fonts tend to have less stroke width variation than serif fonts. They are often used to convey simplicity and modernity or minimalism.
A typeface is the overall design of lettering; the design can include variations, such as extra bold, bold, regular, light, italic, condensed, extended, etc. Each of these variations of the typeface is a font.
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. 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. Bodoni had a long career and his designs changed and varied, ending with a typeface of a slightly condensed underlying structure with flat, unbracketed serifs, extreme contrast between thick and thin strokes, and an overall geometric construction.
Antiqua is a style of typeface used to mimic styles of handwriting or calligraphy common during the 15th and 16th centuries. Letters are designed to flow and strokes connect together in a continuous fashion; in this way it is often contrasted with Fraktur-style typefaces where the individual strokes are broken apart. The two typefaces were used alongside each other in the germanophone world, with the Antiqua–Fraktur dispute often dividing along ideological or political lines. After the mid-20th century, Fraktur fell out of favor and Antiqua-based typefaces became the official standard.
In typography, a slab serif typeface is a type of serif typeface characterized by thick, block-like serifs. Serif terminals may be either blunt and angular (Rockwell), or rounded (Courier). Slab serifs were invented in and most popular during the nineteenth century.
Didone is a genre of serif typeface that emerged in the late 18th century and was the standard style of general-purpose printing during the nineteenth. It is characterized by:
Clarendon is the name of a slab-serif typeface that was released in 1845 by Thorowgood and Co. of London, a letter foundry often known as the Fann Street Foundry. The original Clarendon design is credited to Robert Besley, a partner in the foundry, and was originally engraved by punchcutter Benjamin Fox, who may also have contributed to its design. Many copies, adaptations and revivals have been released, becoming almost an entire genre of type design.
Rudolf Koch was a German type designer. He was also a master of lettering, calligraphy, typography and illustration. Commonly known for his typefaces created for the Klingspor Type Foundry, his most widely used typefaces include Neuland and Kabel.
Trajan is a serif typeface designed in 1989 by Carol Twombly for Adobe.
Contemporary typographers view typography as a craft with a very long history tracing its origins back to the first punches and dies used to make seals and currency in ancient times. The basic elements of typography are at least as old as civilization and the earliest writing systems—a series of key developments that were eventually drawn together into one, systematic craft.
Michael Harvey MBE was an English lettering artist, teacher and writer specialising in lettering, type design and letter cutting. His work appears in many English cathedrals and on the National Gallery, London.
Script typefaces are based upon the varied and often fluid stroke created by handwriting. They are generally used for display or trade printing, rather than for extended body text in the Latin alphabet. Some Greek alphabet typefaces, especially historically, have been a closer simulation of handwriting.
Gerrit Noordzij is a Dutch typographer, typeface designer, and author.
Typeface anatomy describes the graphic elements that make up Font in a typeface.
Electra is a serif typeface designed by William Addison Dwiggins and published by the Mergenthaler Linotype Company from 1935 onwards. A book face intended for body text, Dwiggins described the design as intended to be a 'modern roman type letter' with 'personality', avoiding direct revival of any historical model. He therefore chose the name Electra to suggest electricity and crisp modernity, "like metal shavings coming off a lathe".
Goudy Sans is a sans-serif typeface designed by Frederic Goudy around 1929–1931 and published by Lanston Monotype.
A reverse-contrast letterform is a typeface or custom lettering in which the stress is reversed from the norm: instead of the vertical lines being the same width or thicker than horizontals, which is normal in Latin-alphabet writing and especially printing, the horizontal lines are the thickest. The result is a dramatic effect, in which the letters seem to have been printed the wrong way round. Originally invented in the early nineteenth century as attention-grabbing novelty display designs, modern font designer Peter Biľak, who has created a design in the genre, has described them as "a dirty trick to create freakish letterforms that stood out."
A display typeface is a typeface that is intended for use at large sizes for headings, rather than for extended passages of body text.
In typography, a fat face letterform is a serif typeface or piece of lettering in the Didone or modern style with an extremely bold design. Fat face typefaces appeared in London around 1805-10 and became widely popular; John Lewis describes the fat face as "the first real display typeface." While decorated typefaces and lettering styles existed in the past, for instance inline and shadowed forms, the fat faces' extreme design and their issue in very large poster sizes had an immediate impact on display typography in the early nineteenth century. Historian James Mosley describes a fat face as "designed like a naval broadside to sock its commercial message by poster to the unconsenting reader at a distance of ten or twenty yards by sheer aggressive weight of heavy metal."
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