Category | Sans-serif |
---|---|
Classification | Geometric |
Designer(s) | Sol Hess |
Foundry | Monotype |
Date created | 1990 |
Design based on |
Century Gothic is a digital sans-serif typeface in the geometric style, released by Monotype Imaging in 1990. [1] [2] It is a redrawn version of Monotype's own Twentieth Century, a copy of Bauer's Futura, to match the widths of ITC Avant Garde Gothic. It is an exclusively digital typeface that has never been manufactured as metal type.
Like many geometric sans-serifs, Century Gothic's design has a single-store "a" and "g", and an "M" with slanting sides resembling an upturned "W". Century Gothic has a high x-height (tall lower-case characters). Its origins (see below) come from a design intended for large-print uses such as headings and signs, and so it has a reasonably purely geometric design closely based on the circle and square, with less variation in stroke width than fonts designed for small sizes tend to show, and a relatively slender design in its default weight.
While many geometric sans-serif typefaces have been released to compete with the popular typeface Futura, Century Gothic is perhaps unique in its origin: it redraws one to match the design proportions of a second. Century Gothic was created to be a substitute font for ITC Avant Garde, designed by Herb Lubalin, and released by the International Typeface Corporation (ITC) in 1970, so a document created in one can be displayed in the other with no change to copyfit. [3] [4] This allows it to substitute interchangeably for Avant Garde in documents, an important feature since Avant Garde is a standard font in some forms of the PostScript digital printing standard, and so Century Gothic allowed Microsoft to use it in preference to paying for an ITC Avant Garde license.
Additionally, Century Gothic's design was based on Monotype's own Twentieth Century, which was drawn by Sol Hess between 1937 and 1947 for the Lanston Monotype Company. [5] Century Gothic is similar to ITC Avant Garde in its pure geometry, and does not possess the subtle variation in stroke width found in either Futura or Twentieth Century. [6] However, it differs from ITC Avant Garde in that like Futura and Twentieth Century, Century Gothic does not have a descender at bottom right of the "u" (making it appear like a Greek upsilon υ), whereas Avant Garde does. Century Gothic also has larger, rounder tittles on the letters i and j more akin to Futura, whereas Avant Garde keeps the tittles square and the same width as the letter strokes. Most notably, it lacks the extreme stylistic alternates of Avant Garde, such as highly slanted letters designed to fit together closely in kerning. [7]
Century Gothic was intended as a display design for large headings and advertisements (although it is somewhat usable for body text because of the high x-height) and as a result Century Gothic is quite a light typeface, especially in default weight, with the classic display typeface feature of tight spacing and quite wide characters, in contrast to Twentieth Century which was intended more for small-size applications with a more solid stroke weight and open spacing. [8] While its structure is similar to Futura, its regular style is between Futura and Twentieth Century's regular and light weights.
Century Gothic was one of several clones of PostScript standard fonts created by Monotype in collaboration with or sold to Microsoft, including Arial (a clone of Helvetica), Book Antiqua (Palatino), and Bookman Old Style (ITC Bookman). [9] [10] As such, it has been bundled with many Microsoft products. Plus! 95 and Windows 98 included Century Gothic, but contemporary versions of Windows do not. It has been a part of Microsoft Office since the release of version 4.3 in 1994 and is available in the modern versions. [11] [12]
Levenim MT is a version of Century Gothic that includes Hebrew alphabet and is available for free on most versions of Windows. [13] Levenim MT has two weights, namely Regular and Bold. Unlike Century Gothic, Levenim MT does not have true italics. The two fonts also have some minor visual differences.
According to the University of Wisconsin-Green Bay, Century Gothic uses much less ink than other, similar sans-serif typefaces. It was found that Century Gothic uses about 30% less ink than Arial. In order to save money that would be spent on printer ink for other typefaces, the university reportedly switched their default e-mail and printing typeface from Arial to Century Gothic. [14] However, the typeface has also been found to use more paper—due to its wider letters—meaning that the savings on ink are offset by an increase in paper costs. [15]
Along with the serif typeface Garamond, Century Gothic is one of the two typefaces that PrintWise, an initiative of the U.S. government's General Services Administration, recommends U.S. government workers use for printed documents. [16] [17]
Apart from Avant Garde and Futura, a number of other fonts based on Avant Garde have been created to substitute for it in PostScript implementations. A particular case of this is an open-sourced set of fonts developed by URW and donated to the Ghostscript project to create a free PostScript alternative. This includes an AvantGarde clone known as "Gothic L". It (or a derivative) is used by much open-source software such as R as a system font. [18] [19] A derivative of this family known as "TeX Gyre Adventor" has been prepared for use in the TeX scientific document preparation software. [20]
Palatino is an old-style serif typeface designed by Hermann Zapf, initially released in 1949 by the Stempel foundry and later by other companies, most notably the Mergenthaler Linotype Company.
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 typefaces tend to have less stroke width variation than serif typefaces. They are often used to convey simplicity and modernity or minimalism. For the purposes of type classification, sans-serif designs are usually divided into these major groups: § Grotesque, § Neo-grotesque, § Geometric, § Humanist, and § Other or mixed.
A typeface is a design of letters, numbers and other symbols, to be used in printing or for electronic display. Most typefaces include variations in size, weight, slope, width, and so on. Each of these variations of the typeface is a font.
Arial is a sans-serif typeface in the neo-grotesque style. Fonts from the Arial family are included with all versions of Microsoft Windows after Windows 3.1, as well as in other Microsoft programs, Apple's macOS, and many PostScript 3 printers. In Office 2007, Arial was replaced by Calibri as the default typeface in PowerPoint, Excel, and Outlook.
Futura is a geometric sans-serif typeface designed by Paul Renner and released in 1927. It was designed as a contribution on the New Frankfurt-project. It is based on geometric shapes, especially the circle, similar in spirit to the Bauhaus design style of the period. It was developed as a typeface by the Bauer Type Foundry, in competition with Ludwig & Mayer's seminal Erbar typeface of 1926.
Univers is a sans-serif typeface family designed by Adrian Frutiger and released by his employer Deberny & Peignot in 1957. Classified as a neo-grotesque sans-serif, one based on the model of nineteenth-century German typefaces such as Akzidenz-Grotesk, it was notable for its availability from the moment of its launch in a comprehensive range of weights and widths. The original marketing for Univers deliberately referenced the periodic table to emphasise its scope.
Gill Sans is a humanist sans-serif typeface designed by Eric Gill and released by the British branch of Monotype from 1928 onwards.
Franklin Gothic and its related faces are a large family of sans-serif typefaces in the industrial or grotesque style developed in the early years of the 20th century by the type foundry American Type Founders (ATF) and credited to its head designer Morris Fuller Benton. "Gothic" was a contemporary term meaning sans-serif.
In metal typesetting, a font or fount is a particular size, weight and style of a typeface, defined as the set of fonts that share an overall design. For instance, the typeface Bauer Bodoni includes fonts "Roman", "bold" and "italic"; each of these exists in a variety of sizes.
Bookman, or Bookman Old Style, is a serif typeface. A wide, legible design that is slightly bolder than most body text faces, Bookman has been used for both display typography, for trade printing such as advertising, and less commonly for body text. In advertising use it is particularly associated with the graphic design of the 1960s and 1970s, when revivals of it were very popular.
Kabel is a geometric sans-serif typeface that was designed by the German designer Rudolf Koch and released by the Klingspor foundry from 1927 onward.
Bernhard Gothic is a family of geometric sans serif typeface designed by Lucian Bernhard in 1929 for the American Type Founders (ATF). Five variations by Bernhard were introduced over two years:
Twentieth Century is a geometric sans-serif typeface designed by Sol Hess for Lanston Monotype in 1937. It was created as a competitor to the successful Futura typeface for Monotype's hot metal typesetting system. Like Futura it has a single-story 'a' and a straight 'j' with no bend.
Monotype Grotesque is a family of sans-serif typefaces released by the Monotype Corporation for its hot metal typesetting system. It belongs to the grotesque or industrial genre of early sans-serif designs. Like many early sans-serifs, it forms a sprawling family designed at different times.
ITC Avant Garde Gothic is a geometric sans serif font family based on the logo font used in the Avant Garde magazine. Herb Lubalin devised the logo concept and its companion headline typeface, and then he and Tom Carnase, a partner in Lubalin's design firm, worked together to transform the idea into a full-fledged typeface.
The Bauhaus typeface design is based on Herbert Bayer's 1925 experimental Universal typeface and the Bauhaus aesthetic overall.
In typography, Erbar or Erbar-Grotesk is a sans-serif typeface in the geometric style, one of the first designs of this kind released as type. Designer Jakob Erbar's aim was to design a printing type which would be free of all individual characteristics, possess thoroughly legible letter forms, and be a purely typographic creation. His conclusion was that this could only work if the type form was developed from a fundamental element, the circle. Erbar-Grotesk was developed in stages; Erbar wrote that he had originally sketched out the design in 1914 but had been prevented from working on it due to the war. The original version of Erbar was released in 1926, following Erbar's "Phosphor" titling capitals of 1922 which are very similar in design.
Venus or Venus-Grotesk is a sans-serif typeface family released by the Bauer Type Foundry of Frankfurt am Main, Germany from 1907 onwards. Released in a large range of styles, including condensed and extended weights, it was very popular in the early-to-mid twentieth century. It was exported to other countries, notably the United States, where it was distributed by Bauer Alphabets Inc, the U.S. branch of the firm.