More Fontology

Sabon

This is my favorite serif font. The serifs are heavy enough to stand up well in small printed text. There is also a uniqueness to the characters, especially in the italic, in the descenders and roundness that distinguishes it from most commonly used serif fonts.

When I researched it, I liked the font even more. It was designed in 1967 by Jan Tschichold, but is based on types by Claude Garamond from the 16th century and named after a printer of the period, Jacques Sabon. That deriving something new out of something old is appealing to me. To seal the deal, some of the first printed materials to use Sabon was the Washburn College Bible in 1973 and the 1979 Book of Common Prayer for the Episcopal Church. That ecclesiastical connection is also interesting. After all, if it’s good enough for the Bible, it should be good enough for my clients.


Trajan

Trajan may be the perfect headline font. It is strong, but subtle and elegant as well. It seems to connote mastery, or even supremacy. Perhaps that is because it is derived from Roman capital letters used during the reign of Trajan – one of the few rulers whose reputation has survived nineteen centuries. Every new emperor after him was honored by the Senate with the prayer felicior Augusto, melior Traiano, meaning “may he be luckier than Augustus and better than Trajan”.

The font is an old style serif typefaces designed in 1989 by Carol Twombly for Adobe. The design is based on the letterforms of capitalis monumentalis or Roman square capitals, as used for the inscription at the base of Trajan’s Column. Since lower case forms were not in use in Roman times, Trajan is an all-capitals typeface. Instead, small caps are commonly used. A number of interpretations predate Trajan, particularly Emil Rudolf Weiss’ “Weiss” of 1926, Frederic Goudy’s 1930 “Goudy Trajan,” and Warren Chappell’s “Trajanus” of 1939. There are also numerous prominent typefaces that are not revivals, but owe a very clear debt to the Trajan letterforms, most notably Hermann Zapf’s 1955 Optima.

Twombly’s cut of Trajan has become very popular, as seen in its nearly constant presence on American movies, television shows and books. For example, the font was used for the film poster of Titanic, for the credits of several films like Interview with the Vampire, the titles and captions for The West Wing and the covers of many John Grisham paperbacks. Trajan is also the official font of Columbia University, Rice University,  University of Kansas and many other institutions and political groups.


Futura

If you are looking for a regular looking type with just enough quirks to keep your interest, Futura may be your man. It’s actually the precision of the face that provides the quirkiness – the roundness of the O and the sharp points of the V or M are just the graphic feel you may need.

History of Futura:
Commissioned by the Bauer type foundry, Futura was commercially released in 1927. It is a geometric sans-serif typeface designed by Paul Renner. It is derived from simple geometric forms (near-perfect circles, triangles and squares) and is based on strokes of near-even weight, which are low in contrast. In designing Futura, Renner avoided the decorative, eliminating non-essential elements. The lowercase has tall ascenders, which rise above the cap line. The uppercase characters present proportions similar to those of classical Roman capitals.


Isadora Caps

Popular in Europe and North America, the Art Nouveau style had its beginnings in the late 1800s and remained dominant until the outbreak of World War I. Its aesthetic was characterized by extreme decoration, and was evident in architecture, painting, sculpture, furniture, clothing and even jewelry. Some consider Art Nouveau to be a reaction to the Industrial Revolution, when craftsmanship was trumped by mass production and machine-made products.

Art Nouveau typefaces are stylized, elegant display fonts. The type designs are usually extremely decorative, and can include embellished stroke endings, very high and low “waistlines,” diagonal and triangular character shapes, top- or bottom-weighted stresses, angled crossbars, and in some cases, filigreed initials. Some typefaces have more than one of these distinctive traits.

Isadora Caps was designed in 1993 by Sam Wang. He designed over 20 Art Nouveau fonts from 1991-2008, including Handwriting, Celtic and Sarah Caps. Isadora Caps has deep plunging descenders and an open ’round’ appeal.


Avant Garde

Clean and conspicuous, Avant Garde is a great headline typeface. In text it is a large type, which means you can use smaller point sizes and still remain legible. The “roundness” of the characters stands it apart from many other san serif styles.

History of Avant Garde
Herb Lubalin and Tom Carnase designed Avant Garde around 1968. It was based on Lubalin’s logo for Avant Garde magazine. The original face was all uppercase. Avant Garde was the first typeface released by ITC when the company was founded in 1970. Next to being used in all types of art publications, Avant Garde was a classic in ’70s advertising design.