Palatino is the name of 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.
Hermann Zapf was a German type designer and calligrapher who lived in Darmstadt, Germany. He was married to the calligrapher and typeface designer Gudrun Zapf-von Hesse. Typefaces he designed include Palatino, Optima, and Zapfino. He is considered one of the greatest type designers of all time.
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.
Matthew Carter is a British type designer. A 2005 New Yorker profile described him as 'the most widely read man in the world' by considering the amount of text set in his commonly used typefaces.
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 large 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.
Frederic William Goudy was an American printer, artist and type designer whose typefaces include Copperplate Gothic, Goudy Old Style and Kennerley. He was one of the most prolific of American type designers and his self-named type continues to be one of the most popular in America.
Monotype Imaging Holdings Inc., founded as Lanston Monotype Machine Company in 1887 in Philadelphia by Tolbert Lanston, is an American company that specializes in digital typesetting and typeface design for use with consumer electronics devices. Based in Woburn, Massachusetts, the company has been responsible for many developments in printing technology—in particular the Monotype machine, which was a fully mechanical hot metal typesetter, that produced texts automatically, all single type. Monotype was involved in the design and production of many typefaces in the 20th century. Monotype developed many of the most widely used typeface designs, including Times New Roman, Gill Sans, Arial, Bembo and Albertus.
Raymond Larabie is a Canadian designer of TrueType and OpenType computer fonts. He owns Typodermic Fonts, which distributes both commercially licensed and shareware/freeware fonts.
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.
Lettering is an umbrella term that covers the art of drawing letters, instead of simply writing them. Lettering is considered an art form, where each letter in a phrase or quote acts as an illustration. Each letter is created with attention to detail and has a unique role within a composition. Lettering is created as an image, with letters that are meant to be used in a unique configuration. Lettering words do not always translate into alphabets that can later be used in a typeface, since they are created with a specific word in mind.
Kris Holmes is an American typeface designer, calligrapher, type design educator and animator. She, with Charles Bigelow, is the co-creator of the Lucida and Wingdings font families, among many other typeface designs. She is President of Bigelow & Holmes Inc., a typeface design studio.
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.
Rudolf Koch was a German type designer, professor, and 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.
Rotis is a typeface developed in 1988 by Otl Aicher, a German graphic designer and typographer. In Rotis, Aicher explores an attempt at maximum legibility through a highly unified yet varied typeface family that ranges from full serif, glyphic, and sans-serif. The four basic Rotis variants are:
Centaur is a serif typeface by book and typeface designer Bruce Rogers, based on the Renaissance-period printing of Nicolas Jenson around 1470. He used it for his design of the Oxford Lectern Bible. It was given widespread release by the British branch of Monotype, paired with an italic designed by calligrapher Frederic Warde and based on the slightly later work of calligrapher and printer Ludovico Vicentino degli Arrighi. The italic has sometimes been named separately as the "Arrighi" italic.
Neo Sans and Neo Tech are the typefaces designed by the British type designer Sebastian "Seb" Lester. The typefaces were released by Monotype Corporation on April 19, 2004. The design concept called for a versatile, futuristic typeface that didn't look "crude, gimmicky or ephemeral".
