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Category Archives: serif

Archer, The colorful Slab Serif
Sweet but not saccharine, earnest but not grave, Archer is designed to hit just the right notes of forthrightness, credibility, and charm.

Just kinda looking around and saw their new face archer. It was designed for Marth Stewart Living. Since for a magazine, they had many design problems to face, like body copy, headlines, small caps, lists, charts, numbers etc etc. there are Ball terminals on the lowercase. There are similarities to a typewriter face, but more geometric.

Anorexic type… Archer features a thinner then extra light, thinner then thin weight, called Hairline. its really nice, i love the dots/ball serifs at this weigh. I feel like a headline or paragrpah at hairline will be really interesting, connect-the-dots-looking.

Take a look at the serif on the lowercase a. Itallics are real nice too.

check it out >


(ok i know your saying “stencil?”… just read it)

Stencil was designed in 1937 by Gerry Powell. He succeeded in imitating the spray painted on to a big wooden crate type. There are capital only.

Serif: flat rounded serif.
usage: military army spray painty stuff?
Characteristics: Rounded edges, thick main strokes, and PYLONS…

The area of a stencil font which (a) adds structural integrity to the letterform, and (b) increases aesthetic value and/or legibility through the inclusion of counters.

Peter Biľak was Born in the Czech republic, went to school in England, the US and France, and ended up in the netherlands. He does work in type, editorial, graphic and web design. He also is a teacher at the Royal Academy in The Hague. Biľak started Typotheque in 1999.

Fedra was commissioned by Paris-based Ruedi Baur Integral Design and developed as a corporate font for Bayerische Rück, a German insurance company, as part of their new identity. The objective was to “de-protestantize Univers.”

Bayerische was acquired by a larger company, ending the production of Fedra. However since a lot of the work had been done, Biľak decided to finish the typeface, including more weights and expert fonts.

Unfortnatly, about 3 months before the release of Fedra, Biľak’s studio was broken into and he lost all of the work. This became beneficial to the typeface becasue it gave him time to rethink some of his design decisions with the original (he still had his sketches.)

The typeface reflects the original brief “it humanises the communicated message and adds simple, informal elegance”. It attempts to reconcile two opposing design approaches “rigidity of a typeface designed for the computer screen and flexibility of a handwriting.”

Fedra is a multiligual font, in over 70 languages.

Fedra Sans
serif: sans
characteritics: Each weight of Fedra sans includes 4 different sets of numbers, Tabular figures, Lining figures (for use with upper case, and small caps), Old style figures, superior/ subscrupt figures (make nice fractions). Designed to work equally well on screen and on paper.

Fedra Serif
serif: serif
chacteristics: Version A: Low contrast with extremely short ascenders and descenders, worked very well at small sizes.
Version B: Higher contrast, longer ascenders and descenders, comtempory design. good for high resolution printing where its shape can be appreciated.

Didot is named for a French Printing family. Firmin Didot, did much of the design and type casting. Pierre Didot did the printing. The Didotd were inspored by the experimental work of John Baskerville.

There are many DIdot revivals. Hoefler & Frere-Jones and Adrian Frutiger each did a revival based on Firmins work. François Rappo designed a revival based on Pierre.

serif: thin hairline
Characteristics: very similar to Bodoni, thin flat serifs. high contrast

Bodoni and Didot are often compared because of their similarities. while the Didot family created in France, Bodoni worked in Italy. Both were inspired by Baskerville.

Lucida is an extended family of typefaces designed by the team of Charles Bigelow and Kris Holmes in 1985. There are many variations in the Lucida family.

Bigelow ans Holmes worked with a vendor to create a full set of mathematical symbols. These symbols help make Lucida one of the most complete type families.

Serif, Sans serif… blackletter, caligraphy, handwriting, Fax, Bright, Sans Unicode, Grande, Sans typewriter.
Lucida Grande has 2,245 characters. Grande is a Humanist Sans Serif.
Used: Mac OS X, Front Row, Windows’s Blue screen of Death

Working in web design, I was introduced to the pixel font Unibody a few months ago as legal copy on a banner ad. My creative director recommended Underware’s Unibody 8.

Unibody 8 was designed to work with screen pixels to create a clear and readable small typeface on the screen. This font needs no anti-aliasing (blurring around the pixels to create a smooth look).

The Unibody family has 5 members. Roman, Italic, Bold, Black and Small Caps.

Unibody 8
serif: its 8 pt type, no.
usage: web design. good for use in photoshop and flash.
characteristics: 8 pt pixel font. Italics are all upright are similar to script.
cost: FREE

Underware explains the concept behind Unibody 8:
“As you probably know, the computer screen consists of very tiny squares called pixels. Quite often in a web design it is essential to choose a body text typeface which reveals this basic pixel construction. Adopting a strong ‘form-follows-function’ approach, screen type often focuses your eyes on the text without needing blurry anti-aliasing (computer generated curve-smoothening), which can be too heavy at a very small size like 8 pts.

For this reason we have developed Unibody 8-typeface, which is an optimized screen font family for Macromedia Flash MX and Adobe PhotoShop. It will remain aliased at size 8 pts, in other words it gives a crisp pixel image. We didn’t force the type to do anything other than what’s naturally possible with this basic 8 pixel grid. For example, the italic is upright (see sample below) to avoid broken diagonal stems. We also decided to give a width of two pixels for most of the letter spaces. Quite often this space is only one pixel, and that can force letters to melt into each other on poor monitors or at lower resolutions.”

Trajan’s Column is a Roman monument in Honor of Emperor Trajan and constructed by the architect Apollodorus of Damascus. The column is well known for its spiral bas relief depicting Trajan’s victory in the Dacian Wars. It is located just north of the Roman Forum in Rome, Italy.

The base of Trajans column featured Classic Roman Letterforms. it is believed that these letters were first painted on, then carved into the stone. This gave them a nice free formed feel and sharper serifs. The letters are called capitalis monumentalis or Roman square capitals.

Twombly designed Trajan in 1989 for Adobe as part of their Adobe originals collection.

Serif: yes
lowercase?: since lowercase letters weren’t use in Ancient Rome, the LC letters are small caps.
Characteristics: all caps, sharp serifs, large swash on the Q.

Thanks Stacy for suggesting trajan

One of Zuzanas favorite typefaces is Bodoni. she was attracted to its clean lines and geometric shapes. However, she felt that Bodoni at a small size was tough to read.

Filosofia is Zuzanas interpretation of Bodoni’s work. She incorporated features such as a bulging round serif. She also reduced the stroke contrast in the regular weight (to combate the “dazzling” found in digital versions of Bodoni). The Filosofia grand family is more delicate and refined then the regulars.

Filosophia is Italian for Philosophy

Serif: flat and thin.
Use: regular for text and grand for headlines.
characteritics: personally I think that this is a very “soft” version of bodoni. it reads smoothly and cleanly.

Giambattista Bondoni was a highly skilled Italian engraver, printer and typographer. His technical abilities helped him create the thin hairline serifs on the family of fonts named after him.

Bodoni studied the types of John Baskerville, He paid particular attention to the contrast of Baskervilles letters. Baskervilles type was said to make one blind because of its high contrast of letters, Bodoni is even higher in contrast. Bodoni was also inspired by the designs of Firmin Didot.

Serif: hairline serifs
classifications: Didone or modern
characteristics: High contrast between strokes, thin flat serifs, geometric.

Digital issues: Bodoni suffers from a form of digital degradation, called “dazzle”. the alternating thick and thin strokes are difficult for the screen to represent and inkjet printers to print cleanly. the thin strokes are to thin at the smaller point sizes. Also, digital type is based on one design, and mathematically scaled for different point sizes. Some designers found ways around dazzle with “optical scaling”.

number 4 in a series of 4 western faces, finally

Zebrawood like its four brothers (see below) is a display western typeface. Its style can be traced back to the Toscanienne typefaces which appeared in advertisements and on signs at the end of the 19th century.

serif: big split serifs
used: display and headlines
characteristics: split serifs. ZW is a bi-color font like Rosewood. the fill compliments the insides of the regular. Has a circus feel to it.

(NEVER will i do a series again)