hoefler text font book

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Hoefler Text

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hoefler text

Vy Vu

2012

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1

table of contents

introduction

03-45

i ii

iii

vi

w anatomy 46-85

display + examples

86-105

Round Forms

Round-Square Forms

Square Forms

Diagonal-Square Forms

Diagonal Forms

2

Common Letter Pair/

Frequencies Studies

Test Words, Sentences,

Paragraphs

Pangram

z

History

Jonathan Hoefler

Characteristics

Evolution

v vi

vii

viii ix

x

xi

xii

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First typefaces on a Macintosh

w[introduction]

History

i

4

introduction / History

Howaboutnow?

Weights ranging from Regular, Bold,

and Black.

d p

Notice how the leg of the k and the spine of

the s are exaggerated.

5

History / introduction

According to the Vox-ATypl Classification,

Hoefler Text (pronounced Heffler) is a Garalde

(or Old Style) serif typeface designed in 1991

by Jonathan Hoefler, the creator of the foundry

called Hoefler & Frere-Jones in 1989. The

overall family includes twenty-seven styles

that encompasses three weights: regular, bold,

and black. There are also the roman and italic

which features small caps, italic, swash caps,

and the italic swash small caps. Comparing

to other typefaces, what makes the Hoefler

text unique are their special characters such

as the lining figures, ligatures, fractions,

math characters, monetary symbols, and

contextual punctuation.1 These characters are

used to decorate and articulate the written

text. For instance, the ligatures are extended

far out, creating a more obscure look.

6


The reason why Jonathan Hoefler designed the

Hoefler Text typeface family was also the same

reason behind the response of the challenges

and needs he met when he step foot into the

graphic design world.

He simply just wanted more.

He wanted more fonts, more styles, more choices that does not have to resort to on-the-fly variants of regular, italic, bold, and bold italic.

When Hoefler first started out, there were only

a few designers that pursue their career in digital

typography. Luckily, for Hoefler it was easy for

clients to target his work. Since the digital

typography field was small, so was competition

including the equipment used to manufacture

them. Hence without the competition, damages

were being done to typography, for designers

were too focused on “manufacturing their most

important faces first”2 which unfortunately dur-

ing that time, the production processes were at

their weakest. As a consequence, fine typography

greatly suffered because the craftsmanship and

refinement was not considered thoroughly enough.

Engraved capitals is one of his

several added traditions to the

typography world.

7


Hoefler Text was created since the beginning of the

digital age, so there were a sea of undiscovered mediums

to be dabbled with. Thanks to Hoefler ’s revival of the tra-

ditional printings, more openings to new ideas emerged

from the old-style figures and small caps. He brought

back some of his favorite seventeenth century elegant

elements in typography that he did not see in any of the

fonts of his time. The baroque-like typeface drew its in-

spiration from other two typefaces: Jean Janna’s Janson

Text and Nicholas Kis’ Garamond Number 03.3 This de-

tailed oriented font trumps all the simple fonts that came

before it, such as Helvetica and American Typewriter.

Sure, Helvetica has different weights (hairline, ultra-

thin, light, book, medium, normal, extra-black, etc.)

and thicknesses for emphasis and contrast, but it was

not enough to please Hoefler aesthetically. The font

still held the same body/structure, but only with little

modification to the weight. Hoefler designed a font

where there are little flourishes within the uppercase

letters that adds finesse and formality to the structure. RNotice the ball terminals on the

finishing curved stroke and leg

of the uppercase R.

8


x-height

x-height

x-heightx-height

x-heightx-height

x-heightx-height

No matter the point size, the x-height is

still legible, even at a 7 pt size.

top to bottom: 7 pt, 9 pt, 11 pt, 13 pt,

15 pt, 20 pt, 26 pt, 32 pt

9


In addition, the function of legibility and read-

ability of the old digital fonts was sacrificed

when set at certain sizes. The x-height and

counters might be too diminutive to be legible

at a smaller size. But with Hoefler, he made

it possible for the font to be legible at any

proportion and in any way that it is utilized.

The changes that Hoefler wanted, he made

happen with a few additional traditions added

along the way. Hoefler Text continuously

remains to be used by designers, businesses,

and even the average person. It is a type-

face that is set in stone and pre-installed on

every Macintosh computer. When the font

was created, it was one of the three original

fonts that was prosperously used in System

7.5. There were some faulty errors concerning

the TrueType GX fonts, for some fonts were

unable to display its full capabilities, however,

Hoefler ’s typeface pulled through.4 And now,

since everything is moving to the web, Hoefler

& Frere-Jones is expanding their font library

to other browsers and interface systems, like

Windows. One of his company’s striving goals is

to have their library exist on all browsers. This

way all users, not only from the Macintosh,

will have an opportunity to utilize his fonts.5

Photo courtesy of Marc Eckardt

w[introduction]

Jonathan Hoefler

ii

12

introduction / Jonathan Hoefler

Jonathan Hoefler is a American designer specialized in typography. He worked at

the Hoefler & Frere-Jones type foundry located in New York alongside his fellow

type designer, Tobais Frere-Jones. Hoefler ’s inspiration for designing typefaces

came about when he first saw a 1983 Macintosh advertisement in Time Magazine:

“There were all these photographs of screen graphs, like things you do on a Mac, you know pie charts, and shit like that. And one of them is this little tiny thing and these fifteen words that changed my life:‘If you don’t see a typeface you like here, Macintosh lets you design your own.’” 6

“There were all these photographs of screen graphs, like things you do on a Mac, you know pie charts, and shit like that. And one of them is this little tiny thing and these fifteen words that changed my life:‘If you don’t see a typeface you like here, Macintosh lets you design your own.’” 6

Jonathan Hœflertalk at Pivot: AIGA Design Conference

14


This simple quote brought

together his love for being a

computer nerd and design at

that moment. It was the initiative

that started his career as a type

designer. Hoefler found that the

fonts, like Helvetica for example,

on the Macintoshes at that time

were“bewildering.” Observing

that the counters in the number

8 and 6 and the circles in % were

not the same.

8 6 Counters inside the 8 and 6 are elliptical

while the percentage sign’s counter is a

round circle.

15

Johnathan Hoefler / introduction

There were only four types of style at that

time regular, italic, bold, and bold italic.7 To

him, it seemed that the styles were limited,

so he began developing the typeface family

called Hoefler Text. He wanted to create new

kinds of fonts, ones that contain small caps,

italic small caps, swashes, and arabesques

because at that time the world of Macintosh

was stuck with the four simple and mundane

versions of the fonts. Hoefler Text allowed for

complex typography with its ornate styles and

characteristics. The typeface later became a

part of the Macintosh operating system and is

used everywhere. But his journey in design-

ing fonts did not stop there, for he continued

to work with his design team in New York

to create other well-known fonts such as

Gotham, Didot, and Vitesse which would later

be used in magazines and advertisements.

Didot

used for Vogue

magazine

logo, 2001.

16


The Hoefler & Frere-Jones foundry was established in 1989 and continues to deliver the high

performance and high style that they withhold. Jonathan Hoefler ’s dedication to bringing

new typefaces to the world made him

Plenty of his works were used in world renown

publications such as the Rolling Stones,

Harper’s Bazaar, The New York Times Magazine,

Sports Illustrated, and Esquire.8 He began

his education as a graphic designer but felt

that the world needed more fonts to choose

from, so he set out designing his own fonts.

“...one of the forty most influential designers in America by I.D. Magazine.”

He worked under Roger Black, a publication

designer, at the Font Bureau for some time

and was later contacted by Harper’s in 1991

to redesign their identity. Not only were his

works in printed magazines, they exist on

popular internet websites as well, such as

the logo of Wikipedia set in Hoefler Text.

17


WikipediA The Free Encyclopedia

Hoefler Text

used for Wikipedia

logo, 2001 (top)

and Didot for

Harper’s Bazaar,

1991 (bottom)

Hoefler Text is used in various ways by various users. The

typeface can make an appearance in print or on the web.

There was not a specific medium where Jonathan Hoefler

wanted his typefaces to be used, in fact he wanted to expand

his font library so it can reach more audiences. Print designers

would use it in magazines and book layouts and web designers

would use the fonts for their web sites. The font can also be

turn into a logo for some companies, such as Wikipedia in 2010.

To use a specific font, like Hoefler Text, as a logo signifies the

company’s trust in the font and displays that they want that

particular font to be the face and representation of what the

company is about.

In 2011, Dickinson College in Pennsylvania unveiled its

new visual identity as a celebration and solidification for

becoming one of the nation’s best colleges and universi-

ties. Claude Skelton Design, who designed this identity, says

that branding logo “captures the spirit of pride, confidence

and energy that runs throughout the college”.9 Hoefler ’s

font had the ability to evoke emotions and feelings from

those who come across his text, it shows that his fonts can

also reach people at a personal and emotional level and

not just at a design standpoint. The font also made ap-

pearances in the Oprah Magazine and the Smithsonian.

18


The redesigned college seal (left)

features a newly rendered liberty

cap, telescope and book. The new

logo (right) set in the Hoefler typeface

exudes an understated confidence.

Hoefler Text is used in various ways by

various users. The typeface can make an

appearance in print or on the web. There

was not a specific medium where Jonathan

Hoefler wanted his typefaces to be used, in

fact he wanted to expand his font library so

it can reach more audiences. Print designers

would use it in magazines and book layouts

and web designers would use the fonts for

their web sites. The font can also be turn into

a logo for some companies, such as Wikipedia

in 2010. To use a specific font, like Hoefler

Text, as a logo signifies the company’s trust

in the font and displays that they want that

particular font to be the face and representa-

tion of what the company is about.

Jonathan Hoefler

basically lets the

designer do what

they want with

the font, for as long

as it is used in a

dignified manner,

he is satisfied.

19


20


21


His works has been exhibited and included in

the permanent collection of the Cooper-Hewitt

National Design Museum located in New York.

Clients would contact the Hoefler & Frere-

Jones Type Foundry to commission a typeface

for their company. The font Gotham was born

when GQ Magazine asked them to create a font

that was

This font was later used in Barack “Obama’s

Change We Can Believe In” campaign

banners and other materials. The foundry

have their fair share of clients that are known

in the advertising and marketing world.

“...a sans-serif made on a geometric structure that would look masculine and new, and fresh, and be versatile.” 10

«

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23

w[introduction]

Characteristics

iii

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24

introduction / Characteristics

Being classified as a Garalde typeface

means that there are distinct characteristics

within parts of the letters that separate them

from the other typefaces like Pre-Venetian,

Venetian, Transitionl, Didone, and Display.

OEM OEM OEMHoefler Text Adobe Garamond Minion Pro

Garalde typefaces have flowing

forms, medium to high contrast

and variable widths (the capital

letters have wide and narrow

oldstyle proportions).11

25

Characteristics / introduction

M MHoefler Text Regular + Hoefler Text Italic + Swash Caps

Hoefler Text is comprised of several ways to

display their italics. It appears that allowing

the designer to have the option to decorate

their text is seen as an important factor, for

there are multiple ways to ‘fine-tune the

flavor’ of its italics.

Swash caps is a typographical

flourish on a glyph, like an exag-

gerated serif that were historically

often used to begin sentences.

M

26


eA beautifully crafted organic Hoefler

Text ornament.

27


The combinations of ornaments

create a set of interlocking

arabesques, capable of generating

an infinite number of repeating

patterns. 12

This text paragraph above is enclosed

by the use of two Hoefler Text

ornaments.

OPOPOPOPOOPOPOO

OPOPOPOPOOPOPOPO

OOPOPOOPOOPOP

OOOOPOPOOPOOOO

Along with the decorative swashes comes

the ornaments and arabesques which are

used to embellish the surroundings of the

text. Borders and tiling can be created using

the repeating elements of these ornaments.

28


The comparison between Hoefler Text and other typefaces, like

Helvetica and Garamond, there are some well-defined differenc-

es and similarities between the fonts. Using the Vox-ATypl, one

is able to characterize how different Hoefler Text is to Helvetica.

Comparing the two fonts is like comparing apples to oranges.

They each grow from different kinds of trees. To start, Helvetica

is categorized underneath the Neo-Grotesque lineal typeface.

The purpose of the Neo-Grotesque typefaces is for their

‘simplicity and perceived alliance with the machine age’13, so

in turn, their type is more clean-cut and highly legible whereas

the Hoefler text is more calligraphic. An obvious observation

amidst the two fonts is the serif and sans-serif characteristic.

Serifs do not exist in the Lineal fonts, but they do in Garaldes.

G G

Hoefler Text contains serifs while

Helvetica’s are nonexistent.

29


To compare it using a typographer’s eyes, one is

able to identify how the unique structural features

of Hoefler Text and Helvetica. There are certain terms

that help break down the similarities and differences.

Hoefler contains a beak, which is

defined as a single-sided upper serif,

whereas Helvetica’s is nonexistence.

30


O O The stress ( the axis at which

the letter is drawn) are both up-

right and not oblique. In addition,

the contrast between the strokes

of fonts Helvetica has a lower

contrast than Hoefler Text.

E ESans-serif fonts lack brackets. Notice the curved shapes that join

the horizontal and vertical strokes

in Hoefler Text.

31


A dramatic feature that Helvetica does

not hold are swashes and ligatures.

F

32


{Moving on with the comparisons, the typeface

Garamond has more similiar characteristics with

Hoefler Text. For one, they are both contrived

under the same type classification: garalde.

Garalde typefaces demonstrate a greater refinement than the Humanists because the skills of punchcutters improved. There is a greater contrast in the thick and thins of the strokes, sharper in appearance, and more refined. {It is more difficult to differentiate between Hoefler

and Garamond because they are serif fonts. How-

ever, even with the same classification there are

some dissimilarities that make the fonts unique.

33


1234567 1234567Hoefler Text (left) has text figure

numbers whereas Garamond (right)

carry the lining figures where all the

figures are at the same height and

rests on the baseline.

34


HHoefler Text

35


HIf one examines closely, one is able to

spot that both of the typefaces contain

cupped brackets, where the bottom of

the bracket is arched upwards like a foot.

HGaramond

w[introduction]

Evolution

iv

38

introduction / Evolution

39

Evolution / introduction

Technology played an important role in the

development and evolution of typography.

Before computers and digital press, historical

typographers would design type using the wood-

block method of printing. Then as technology

evolved, printing became easier by each century.

From the printing press method to lithography to

hot metal typesetting, different techniques were

utilized in creating fonts, thus various ideas

would emerge for each approach during the

process. There are advantages and disadvan-

tages in the technology that was provided then.

Around 1450, German blacksmith, goldsmith,

printer, and publisher Johannes Gutenberg

invented the glorious invention of printing

press. People began creating fonts, but they

were unable to get the thin clean crisp lines like

Jonathan Hoefler did to his typefaces for the

technique of movable type was done purely by

human hands. The precision and measurements

were not done by computer design programs,

hence it was difficult to attain the neat and

proper lines. Even the curves, which are difficult

to draw by hand, were easily constructed with

the help of the systematic measurement tools.

40


Notice the clean cut straight

edges of the lines on the letter

W and the smooth curves of the

swashes of the O. These are

the special facets that design

programs were able to achieve.

The contrast in the letter W

and O is impeccable. W O

41


Jonathan Hoefler had the advantage over this because creating type became easier

without the hard labor of cutting metal. Everything is computer digitized. More

intricate details in the typefaces were made possible. For instance, even the most

minute feature in the ornaments can be created with excellent finesse because

the programs allowed them to be developed. The impossible was now attainable.

JEven curves created by design programs

for Hoefler Text ornaments

42


Digital type had offered the “potential for fonts to be not merely as good as traditional

ones, but demonstrably better than anything that had gone before.” The emergence of

the Adobe programs led to fresh ideas and possibilities that were waiting to be tested.

The new concepts were introduced to designers such as “old-style figures” and “small

caps.” 14 But it did not stop there for Hoefler because he looked deeper into the past

to bring back older traditions from fine printing that the designers did not utilized.

43


Lorem ipsum dolor sit amet, consectetur adipiscing elit. Sed vulputate aliquet sceler-isque. Nulla ac libero felis, id facilisis enim. Integer at lacus nulla, eu mattis nulla. Donec tincidunt orci ut massa ultri-cies nec elementum eros or-nare. Vestibulum sit amet sapi-en ut turpis lacinia fermentum eu sit amet tellus.

Hoefler Text set in italic small caps swash

44


Apple helped Jonathan Hoefler expand his

typefaces, including Hoefler Text.

45


Hoefler Text was later discovered by the

developers at Apple and they commissioned

him to further expand his fonts. In heed of

society’s use of type, Apple wanted to share

their font creation with the nation, so as a

result “TrueType Gx” was created.15 What this

technology did was made fine typography

readily available for anyone, no matter the

occupation or age. This benefited Hoefler

Text for the advanced features such as

small caps and old-style figures have now

became a standard issue. The old standard

use of regular, italic, and bold were no

longer the only options towards variants.

47

z[anatomy]Round Forms

v

48 Ccanatomy / Round Forms

Hoefler Text’s round forms consists of smooth

curves with barely any straight strokes.

Jonathan Hoefler made use of the descender

line with the exaggerated curve of the swashes.

Stress

49

C A P H E I G H TA S C E N D E R L I N E

X - H E I G H T

B A S E L I N E

D E S C E N D E R L I N E

Hoefler Text Bold Hoefler Text Italic

Hoefler Text Black Hoefler Text Italic Swash

Cc Cc Cc Cc

Round Forms / anatomy

50

anatomy / Round Forms

Gg Gg Gg Gg

GgLoop/Lobe

Ear

51


Gg Gg Gg Gg

GgSs Ss Ss Ss

Ss Spine

52


OoOo Oo Oo Oo

53


Oo Oo Oo Oo Qq Qq Q q

QqTail

55

z[anatomy]

Round-Square Forms

vi

56

anatomy / Round-Square Forms

Bb Bb Bb Bb

BbBowl

Round-Square Forms features

curved and straight strokes.

They intersect with one an-

other to create the letterform.

57

Round-Square Forms / anatomy

BbDd Dd Dd Dd

Dd Ascender

58


Uu Uu Uu

UuBracket

59


Pp Pp Pp Pp

Pp

60

anatomy / Round-Square Forms

Rr Rr Rr Rr

Rr

61


RrJj Jj Jj

JjDescender

63

z[anatomy]Square Forms

vii

64

anatomy / Square Forms

The square forms of Hoefler Text

consists of straight lines that

are perpendicular or parallel to

one another. No diagonals are

found within these letterforms. EeEe Ee Ee Ee

Arm

65

Square Forms / anatomy

Ee Ee Ee Ee

FfFf Ff Ff Ff

66


Hh Hh Hh Hh

HhCrossbar

67


Ll Ll Ll Ll

Ll

68


Tt Tt Tt Tt

TtFinial

69


TtIi Ii Ii

Ii Tittle

71

z[anatomy]


viii

72 ZzDiagonal-Square forms in Hoefler Text contains

diagonal stroke that are connected to one

or two straight vertical or horizontal lines .

anatomy / Diagonal-Square Forms

Stroke

73Zz C A P H E I G H TA S C E N D E R L I N E

X - H E I G H T

B A S E L I N E


Zz Zz Zz Zz

Diagonal-Square Forms / anatomy

74


NnNn Nn Nn Nn

Shoulder

75


NnKk Kk Kk Kk

Kk

76


Mm Mm Mm Mm

Mm

77


MmYy Yy Yy

YyTerminal

79

z[anatomy]


ix

80

anatomy / Diagonal Forms

AaDiagonal forms only has diagonal strokes

that meet to form a point or apex. There

are no horizontal or vertical strokes.

Apex

81Aa Aa Aa A a

Diagonal Forms / anatomy

C A P H E I G H TA S C E N D E R L I N E

X - H E I G H T

B A S E L I N E


82


Vv Vv Vv Vv

Vv

83


Vv Vv Vv Vv Ww Ww Ww Ww

WwOvershoot

84


Xx Xx Xx Xx

Xx

85


& & &

&Counter

TH HE AN RE ER IN ON AT ND ST ES EN OF TE ED OR TI HI AS TO TH HE AN RE ER IN ON AT ND ST ES EN OF TE ED OR TI HI AS TO TH HE AN RE ER IN ON AT ND ST ES EN OF TE ED OR TI HI AS TO TH HE AN RE ER IN ON AT ND ST ES EN OF TE ED OR TI HI AS TO TH HE AN RE ER IN ON AT ND ST ES EN OF TE ED OR TI HI AS TO TH HE AN RE ER IN ON AT ND ST ES EN OF TE ED OR TI HI AS TO TH HE AN RE ER IN ON AT ND ST ES EN OF TE ED OR TI HI AS TO TH HE AN RE ER IN ON AT ND ST ES EN OF TE ED OR TI HI AS TO TH HE AN RE ER IN ON AT ND ST ES EN OF TE ED OR TI HI AS TO TH HE AN RE ER IN ON AT ND ST ES EN OF TE ED OR TI HI AS TO TH HE AN RE ER IN ON AT ND ST ES EN OF TE ED OR TI HI AS TO TH HE AN RE ER IN ON AT ND ST ES EN OF TE ED OR TI HI AS TO TH HE AN RE ER IN ON AT ND ST ES EN OF TE ED OR TI HI AS TO TH HE AN RE ER IN ON AT ND ST ES EN OF TE ED OR TI HI AS TO TH HE AN RE ER IN ON AT ND ST ES EN OF TE ED OR TI HI AS TO TH HE AN RE ER IN ON AT ND ST ES EN OF TE ED OR TI HI AS TO TH HE AN RE TH HE AN RE ER IN ON AT ND ST ES EN OF TE ED OR TI HI AS TO

87

z[display + examples]

Common Letter Pairs /

Frequencies Studies

x

88

display + examples / Common Letter Pairs / Frequencies Studies

TH TO HE AN

RE ER IN ON

AT ND ST ES

89

Common Letter Pairs / Frequencies Studies / display + examples

According to Herbert S. Zim’s introductory

cryptography text “Codes and Secret Writing,”

these are letter pairings that are commonly

used in the English language.

EN OF TE ED

OR TI HI AS

90

display + examples / Common Letter Pairs / Frequencies Studies

LL EE SS OO

TT FF RR NN

PP CC Most common

doubled letter

pairings

91

Common Letter Pairs / Frequencies Studies / display + examples

ETAON RISHD

LFCMU GYPWB

VKXJQ ZLetter frequencies are used for the study

of crypotgraphy, which are techniques for

secure communication in the presence of

third parties, and frequency analysis.

English letter

frequency

sequence

“I am still an old man. But I am not unarmed.”

– Excerpt from The Old Man and the Sea

93


Test Words, Sentences, Paragraphs

xi

94

display + examples / Test Words

The

old man

a n d t h e Sea

top to bottom:

Hoefler Text Swash Italic, 28 pt

Hoefler Text Engraved font, 80 pt

Hoefler Text Italic, 28 pt

95

Test Words, Sentences, Paragraphs / display + examples

Ernest Hemingwayby:

140 pt 48 pt

96

display + examples / Test Words

He was an old man who fished alone in a skiff in the Gulf Stream and he had gone eighty-four days now without taking a fish. In the first forty days a boy had been with him. But after forty days without a fish the boy’s parents had told him that the old man was now definitely and finally salao, which is the worst form of unlucky, and the boy had gone at their orders in another boat which caught three good fish the first week. It made the boy sad to see the old man come in each day with his skiff empty and he always went down to help him carry either the coiled lines or the gaff and harpoon and the sail that was furled around the mast. The sail was patched with flour sacks and, furled, it looked like the flag of permanent defeat.”16 – Excerpt from The Old Man and the Sea

“

Hoefler Text in

paragraph form

12 pt

97

Test Words, Sentences, Paragraphs / display + examples

“Santiago,” the boy said.

“Yes,” the old man said. He was holding

his glass and thinking of many years ago.

“Can I go out to get sardines for you for tomorrow?”

“No. Go and play baseball. I can still

row and Rogelio will throw the net.”

28 pt

36 pt

23 pt

23 pt

Hoefler Text in

sentence form.

12 pt

‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡ 4444444444444444444444444444

‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡4444444444444444444444444444

‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡ 4444444444444444444444444444

‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡4444444444444444444444444444

‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡ 4444444444444444444444444444

‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡4444444444444444444444444444

‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡ 4444444444444444444444444444

‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡4444444444444444444444444444

‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡4444444444444444444444444444

‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡4444444444444444444444444444

99

‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡ 4444444444444444444444444444

‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡4444444444444444444444444444

‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡ 4444444444444444444444444444

‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡4444444444444444444444444444

‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡ 4444444444444444444444444444

‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡4444444444444444444444444444

‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡ 4444444444444444444444444444

‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡4444444444444444444444444444

‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡4444444444444444444444444444

‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡‡4444444444444444444444444444


Pangram

xii

100

display + examples / Pangram

The quick brown fox jumped over the lazy dog.







Hoefler Text Regular

Hoefler Text Italic

Hoefler Text Bold

Hoefler Text Black

Hoefler Text Black Italic

Hoefler Text Swash Italic

Hoefler Text Swash Caps Italic

18 pt

101

Pangram / display + examples








El veloz murciélago hindú comía feliz cardillo y kiwi. La cigüeña tocaba el saxofón detrás del palenque de paja.







14 pt


Hoefler Text Italic

Hoefler Text Bold

Hoefler Text Black




102


Portez ce vieux whisky au juge blond qui fume








Hoefler Text Italic

Hoefler Text Bold

Hoefler Text Black




20 pt

103


Victor jagt zwölf Boxkämpfer quer über den großen Sylter Deich








Hoefler Text Italic

Hoefler Text Bold

Hoefler Text Black




12 pt

104


Aa Bb Cc Dd Ee Ff Gg Hg Ii Jj Kk Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz

Upper and Lower

case letters

of the English

alphabet

105


1 2 3 4 5 6 7 8 9 0 ~ ` !@#$%^&*?_ + -= / ( ) [ ] { }<> , . ; : ’ ”

Symbols and

Numbers

106

bibiliography

1. “Hoefler Text,” Hoefler & Frere-Jones (online; 1989-2012), http://www.typography.com/fonts

font_overview.php?productLineID=100010/ (accessed 27 Jan. 2012).

2. “Hoefler Text.”

3. Womack, Mark. “Favorite Fonts: Hoefler Text.” Obsession with Detail (blog), http://obsession

withdetail.net/ (accessed February 7, 2012).

4. Paul Shaw, “The Digital Past: When Typefaces Were Experimental,” AIGA (online; May 19,

2005), http://www.aiga.org/the-digital-past-when-typefaces-were-experimental/ (accessed 21

Feb. 2012).

5. Jonathan Hoefler, “Type at the Crossroads,” Pivot: AIGA Design Conference (Distributed by

AIGA, October 15, 2011 ), http://www.aiga.org/video-pivot-2011-hoefler/ (accessed 21 Feb. 2012).

6. Jonathan Hoefler.

7. Jonathan Hoefler.

8. “Biographies,” Hoefler & Frere-Jones (online; 1989-2012) http://www.typography.com/about/biog

raphies.php/ (accessed 2 Feb. 2012).

107

9. “New Visual Identity Unveiled,” Dickinson College (October 22, 2011 ), http://www.dickinson.edu/news-and-

events/news/2011-12/New-Visual-Identity-Unveiled/ (accessed 21 Feb. 2012).

10. Helvetica. DVD. Directed by Gary Huswit. UK: Veer and Swiss Dots, 2007.

11. Karen Cheng, Designing Type (New Haven: Yale University Press, 2006), 14.

11. Cheng, Designing Type, 15.





16. Ernest Hemingway. The Old Man and the Sea (New York: Scribner Paperback Fiction, 1995), 9.

photos:

http://typotalks.com/berlin/de/2011/01/26/celebrating-15-years-of-typo-berlin-moments-6/

http://www.vectronicsappleworld.com/macintosh/articlepics/1984ad/macfonts.jpg

http://iowa.barackobama.com

hoefler text font book

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