Tower was a slab serif typeface designed by Morris Fuller Benton for American Type Founders and based upon his earlier design for Stymie, but with straight sides to the round letters emphasizing the vertical appearance. Tower Italic was designed but not cast. In 1936, Tower Bold was started by the same designer, but was instead made into Stymie Bold Condensed. [1]
Tower was digitized as Constructa by Elizabeth Cory Holzman for Font Bureau. Holzman's revival includes a light weight called Constructa Thin and an extra bold called Constructa Black.
Morris Fuller Benton was an American typeface designer who headed the design department of the American Type Founders (ATF), for which he was the chief type designer from 1900 to 1937.
Cooper Black is an ultra-bold serif typeface intended for display use that was designed by Oswald Bruce Cooper and released by the Barnhart Brothers & Spindler type foundry in 1922. The typeface was drawn as an extra-bold weight of Cooper's "Cooper Old Style" family. It rapidly became a standard typeface and was licensed by American Type Founders and also copied by many other manufacturers of printing systems.
Copperplate Gothic is a typeface designed by Frederic W. Goudy and released by American Type Founders (ATF) in 1901.
Mistral is a casual script typeface designed by Roger Excoffon for the Fonderie Olive type foundry, and released in 1953. The Amsterdam Type foundry released a version in 1955.
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:
Cheltenham is a typeface for display use designed in 1896 by architect Bertram Goodhue and Ingalls Kimball, director of the Cheltenham Press. The original drawings were known as Boston Old Style and were made about 14" high. These drawings were then turned over to Morris Fuller Benton at American Type Founders (ATF) who developed it into a final design. Trial cuttings were made as early as 1899 but the face was not complete until 1902. The face was patented by Kimball in 1904. Later the basic face was spun out into an extensive type family by Morris Fuller Benton.
Didot is a group of typefaces. The word/name Didot came from the famous French printing and type producing Didot family. The classification is known as modern, or Didone.
City is a slab serif typeface designed by Georg Trump and released around 1930 by the Berthold type foundry in Berlin, Germany. Though classified as a slab serif, City displays a strong modernist influence in its geometric structure of right angles and opposing round corners. The typeface takes inspiration from the machine age, and industry. A consistent application of repeated parts: an outer circle softening interior rectilinear spaces, results in a highly unified and refined typeface.
News Gothic is a sans-serif typeface in the grotesque or industrial style. It was designed by Morris Fuller Benton and released in 1908 by his employer American Type Founders (ATF). News Gothic is similar in proportion and structure to Franklin Gothic, also designed by Benton, but lighter.
Bank Gothic is a rectilinear geometric sans-serif typeface designed by Morris Fuller Benton for American Type Founders and released in 1930. The design has become popular from the late twentieth century to suggest a science-fiction, military, corporate, or sports aesthetic.
Chauncey H. Griffith (1879–1956) was an American printer and typeface designer.
Bell Centennial is a sans-serif typeface in the industrial or grotesque style designed by Matthew Carter in the period 1975–1978. The typeface was commissioned by AT&T as a proprietary type to replace their then current directory typeface Bell Gothic on the occasion of AT&T's one hundredth anniversary. Carter was working for the Mergenthaler Linotype Company, which now licenses the face for general public use.
Kuenstler Script is a formal script typeface. The primary weight was designed in 1902 by the in-house studio at the D Stempel AG foundry. It was originally titled Künstlerschreibschrift, which translates from German to English as "handwriting of artists". The face is based on late nineteenth-century English copperplate scripts. Those faces in turn took inspiration from earlier eighteenth century writing masters George Bickham and George Shelley, both of whom worked in a writing style called round hand. In 1957, Hans Bohn added to the typeface family with Kuenstler Script Black, a heavy weight of the face.
Bulmer is the name given to a serif typeface originally designed by punchcutter William Martin around 1790 for the Shakespeare Press, run by William Bulmer (1757–1830). The types were used for printing the Boydell Shakespeare folio edition.
Caledonia is a serif typeface designed by William Addison Dwiggins in 1938 for the Mergenthaler Linotype Company and commonly used in book design. As a transitional serif design, one inspired by the Scotch Roman typefaces of the early nineteenth century, Caledonia has a contrasting design of alternating thick and thin strokes, a design that stresses the vertical axis and sharp, regular serifs on ascenders and descenders.
Avenir is a geometric sans-serif typeface designed by Adrian Frutiger in 1987 and released in 1988 by Linotype GmbH.
Granjon is an old-style serif typeface designed by George W. Jones in the period 1928–1929 for the British branch of the Linotype company, and based on the Garamond typeface that was used in a book printed by the Parisian Jean Poupy in 1592. The roman design was from Claude Garamond and the italic version was from Robert Granjon. Because several other Garamonds were on the market in the 1920s, Jones decided to name his type Granjon. Jones, a master printer based in London, had been engaged by Linotype to improve the quality of their typeface range through the development of revivals of notable type designs of the past.
Sol Hess was an American typeface designer. After a three-year scholarship course at Pennsylvania Museum School of Industrial Design, he began at Lanston Monotype in 1902, rising to typographic manager in 1922. He was a close friend and collaborator with Monotype art director Frederic Goudy, succeeding him in that position in 1940. Hess was particularly adept at expanding type faces into whole families, allowing him to complete 85 faces for Monotype, making him America's fourth most prolific type designer. While he was with Monotype, Hess worked on commissions for many prominent users of type, including, Crowell-Collier, Sears Roebuck, Montgomery Ward, Yale University Press, World Publishing Company, and Curtis Publishing for whom he re-designed the typography of their Saturday Evening Post.
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