Short examination of Vox - classificationby Martin Franz

Martin Franz (126742)Internation Art & Technology

4th year - Indepth 5 February, 2012

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Introduction

Vox - ATypI - classification

Humanist

Didones

Mècanes

Linèares

Geraldes

Rèales

Manuaires

Scriptes

Incises

Blackletter

Non-Latin

Modern Western

References

Table of contents

Typography is among other

different graphical elements one

of the key factors in advertising. In

terms of graphic design it means

to choose the right typeface fitting

into the mood of the artwork.

What is typography?

Typography is the arrangement

and design of letterforms and of

them in two-dimensional space

(for print media) , three-dimen-

sional for art and in space and

time (for digital media). For all

art, print and digital media, visual

communication professionals

must consider the fundamental

issues of form and structure,

design, message or content,

and expression.(1)

Looking back into the history of

advertising the typography made

an enormous step forward in the

matter of importance, although it

is basically just the order of

presenting and styling written

information. Nowadays typogra-

phy is all around us. Whether it

is in newspapers, websites, and

advertising or even at the

packaging of goods in the

supermarket – typography is

everywhere. It is a stylistic device

transferring more than just

information. Choosing the right

type can transfer a mood, an idea

a way of living and often leads

the costumer to identify with a

product or company.

`Good typography is invisible /Bad typography is everywhere`

Introduction

1 - Typography

The VOX classification shows a

possibility to classify typefaces in

eleven general classes.

Maximilian Vox, the inventor of this

in 1954 devised system revised

his original proposal just a coup-

le of month later and created a

more compact nine-part scheme.

The `Association Typographique

Internationale` (ATypI) adopted his

arrangement in 1962.

A couple of years later in 1967 the

`British Standards Classification of

Typefaces` set up their more basic

interpretation onto Vox’ classifica-

tion.

The intention of the classifi-

cation is to group typefaces

according to their characteristics.

Decision criteria were the century

they were developed in, down-

stroke and upstroke, forms of serif,

stroke axis, height and many more.

Not only the massive amount of

typefaces also the diversity of

them makes it hard to put eve-

ry type into the right segment.

That being the case typefaces

can due to their attributes also

be part of more than one group.

Of course this classification is

not static and will be amen-

ded within the next years. In

2010 the `AtypI` decided to add

`Gaelic` to the calligraphic group.

VOX – ATypI classification

2 - VOX - classification

The Humanistic typefaces were

created by Venetian printers and

appeared during the 1460s and

1470s. At this time the Renaissance

characterized Europe. The Humanist

types were at the same time the first

Roman, which were developed by

Italian writer, like Nicolas Jenson

has been one. In his first work he

developed the roman lowercase

letter by imitating handwriting to

the style that has remained in use

throughout subsequent centuries of

printing.

This type should be a contrast to

the prevalent dark gothic scripts.

It should display more open and

lighter forms. These typefaces are

mainly inspired by the Carolingian

minuscule. Taking a closer look at

the characteristics the sloping cross-

bar on the lowercase `e` is obvious.

Next to a variation in stroke width,

which is visible in the low contrast

between thick and thin strokes also the

x-height of the fonts is relatively low.

This small height often leads to fee-

ling of a dark colour type, because

the spacing in between lines is often

small.

One uniqueness created the term

`Humanist axis`, describing “huma-

nist fonts (serif or sans) have an axis

resulting from the angle of the pen

nib when producing calligraphy. This

axis is between 25° and 45°. They

tend to look more like they are done

by humans instead of machines. This

is one of the main reasons why they

seem so „comfortable“.(2) The Huma-

nist typefaces are a bit out-dated the-

se days. The last revival has been with

the beginning of the early twentieth

century. In a sense it can be said that

this typography is the forefather of

lots of typefaces we are seeing right

now. Due to the fact that this typeface

was developed shortly after Guten-

berg letterpress invention it is secure

that this was one of the first ever.

Examples: Jenson, Centaur, Verona,

Lutetia, Jersey, Lynton, Perpetua

Humanist (Humanes)

3 - Humanist

1470 Jenson Semi Bold1543 Humane Jenson Bold

Lynton LightPack my box with five dozen liquor jugs

Centaur RegularPack my box with five dozen liquor jugs

`Humanist - axis`Upper-right stress

Sloping crossbar

Lynton Lynton

- CLASSIQUES - ASHLEY / DE ROSS - HUMANES

Didones is next to the mecha-

nistic and linear categories part

of the `Moderns`. `Didones` and

`Moderns` are synonymously used in

terms of typography .

The Frenchman and type-

founder Firmin Didot was the first

publishing a Modern typeface.

Shortly after having printed the first

pages with this new typeface an

Italian punch cutter and printer

invented a new and up to now

very well known type called

`Bodoni`. Giambattista Bodoni (1740-

1813) combined the influence of

Romains du Roi and John Basker-

ville coining the `Moderns` with

some of their typical characteristics.

These types, dating from the end

of the 18th century up to the first

quarter of the 19th century are known

for a very strong contrast between

thick and thin strokes. The influence

of Baskerville and Romains du Roi

got visible by a high contrast and

unbracketed hairline serifs. In ad-

dition the verticality and the small

aperture within the `e’ is

obvious while examining these

Didones typefaces.

Allowing the moderns enough space

and place to breath they can evolve

their elegant shape, which leads us

controlled and calm from line to line.

Nowadays the ‘Didones‘ types are

regularly visible in connection to

fashion. One of the biggest and most

famous fashion magazines - VOGUE

- is using it for their logo and head-

line, as well as the jewellery label

‘Cartier’. The choice of these high

quality labels, underlines again the

elegance of the type.

Examples: ITC Bodoni, Didot

Didones (Moderns)

4 - Didones

Didot LT Std RomanDidot LT Std HeadlineDidot LT Std ItalicDidot LT Std Bold

Bodoni XT Regular

Vertical stem

Full stroke

Connecting stroke

Vertical axis

Unbracketed, hairline serifs

Small aperture

- MODERNS - CENTURY / BELL - DIDONES

The Mécanes have their foundations

in the early 19th century. In coinci-

dence with the Industrial Revolution

and the development of the steam

press (1814) the birthplace of this new

typeface was Britain. Due to the me-

chanisation (mechanic – French: mé-

canicien) printers and advertiser had

the sense to make a difference to the

fonts mainly focussed on longer texts

or books. Their intention was to create

something outstanding, eye-catching

and simply noticeable mainly for short

amount of copy.

Putting the focus on the characte-

ristics we will find rectangular slab

serifs combined with a very low

contrast. The upper and lower serifs

are identic. Comparing that to the

`Didones` font, Mécanes gives the im-

pression of being copied with a more

extended difference between thick

and thin strokes.

The Mécanes – category includes both,

bracketed (iconis, clarendon) and

unbracketed serifs like the Egyptians.

The Slab Serifs were the foundation

for further groups of this typographic

style, namely the Fat Face, which was

designed by Robert Thorne (1800)

and in the mid 1800s `Clarendon`.

Like with every other advancement

there were made some amends. The

x-height was set up for a better legi-

bility and the contrast was reduced.

Today we find Slab Serifs in TV

series like Lost and Hollywood movies

(American Beauty). Also in one of the

most popular advertising campaigns

- I ♥ NY - Milton Glaser took with

ITC American Typewriter a modern

Mécanes font.

Examples: Archer, Clarendon, Ionic,

Rockwell, Corporate ASE, Joanna

Mécanes (Egyptian, Slab Serif, Antique)

5 - Mécanes

Clarendon LT Std LightClarendon LT STD RomanClarendon LT STD Bold

Rockwell Std LightRockwell Std ItalicRockwell Std BOLD

Similar bracketed serifsDifferences in stroke

Identic unbracketed, hairline serifs

ITC American Typewriter LT Medium

Clarendon Rockwell

100%

143%

- MODERNS - CENTURY / CITY - MÈCANES

The linear typeface has its source

in the 19th century. In the modern

typography the `Linéales` are often

called `Geometric` counting to the

round-arched serifs of roman origin.

With the beginning of the 19th century

young scientists influenced the West-

European culture with new historical

insights, which directly got mirrored

in the design of typefaces.

Starting in the 1780s under the

influence of the Classicism and Ratio-

nalism architects and engineers used

sans-serif, linear majuscule script for

their sketches and plans. Due to the

matter-of-fact way and their simple

typometry this type has often

been used to engrave and press

in an industrial relationship. Short-

ly after it got used for house num-

bering and as a font for signs in

the early 19th century in London.

`Grotesque` or in German `Grotesk`

arose like the Egyptian (Mécanes)

typeface according to the increasing

demand of striking advertising fonts.

Especially in England Grotesque-

fonts got famous for eye-catching no-

tifications and advertising. At this time

the typeface was only published in a

strong manner; nowadays we have

the additional choice of `Ultra-Light`

or `Italic`.

The popularity came with the inventi-

on of the Internet. Sans-Serif-types are

very often used for website occurring

in a vast amount of different types.

´Linéales’, referring to the characteris-

tics, differ from other typefaces by the

absence of serifs and by their round-

arched and geometrical (circles, rect-

angles) outlook. Taking a first look the

reader gets the feeling that all strokes

are of the same thickness, but this is

not true. There are slight changes

integrated giving the feeling of unifor-

mity, which is visible at the transitions

of the rounding’s.

Examples: Gill Sans, Akzidenz-Grotest,

Helvetica, Arial, Futura, Frutiger

Linéaires (Linéales, Sans-Serif, Antique, Grotesk)

6 - Linéaires

Helvetica Light Helvetica Light Oblique Helvetica Regular Helvetica ObliqueHelvetica Bold Helvetica Bold Oblique

Gill Sans - Pack my box with five dozen liquor jugsAkzidenz Grotesk - Pack my box with five dozen liquor jugs

Frutiger - Pack my box with �ve dozen liquor jugs

Futura - Pack my box with five dozen liquor jugsArial - Pack my box with five dozen liquor jugs

Geometric shapes - circle

Geometric shapes - rectangle

Differences in stroke

100%

150%

- MODERNS - PARIS / CITY - LINÉALES

`Garaldes` has its origins in the

Renaissance Humanism. The name of

this classification is a mix of the two

designers, who are mainly respon-

sible for it. On the one hand we have

Claude Garamond (ca. 1490–1561)

a French putter and on the other

side Aldus Manutius (1447-1515), a

Venetian typographer. The `Monotype

Bembo` has been the first font ranged

in the `Old Style` around 1495 in Italy,

followed by the `Stempel Garamond`

around 1540, which got published in

France.

Generally the `Geraldes` is conside-

red as a warm and friendly typestyle,

having finer proportion than the

Humanists and a conspicuous stron-

ger contrast between down- and

upstroke. Influenced by a certain

handwriting style the serifs are

mostly bracketed, cove or wedge-

shaped and the typeface in ge-

neral shows a low contrast.

Another specialty we already found

at the group of the `Humanist` – the

`Humanist Axis` is coming around in

the `Geraldes` again, especially visib-

le at the `o`, which has an upper-right

stress. As we already examined before

the Humanist typefaces are part of the

‘Calligraphic’. The `Geraldes` are of-

ten ranged in the same classification,

although they show a higher sophis-

tication, which can be seen as a result

of the increasing skills of punchers.

Another very important development

has been made 1501, right in the time

of `Garaldes` (Old Style). The very first

italic type has been design, especially

for small formats and pocket books.

Today `BP` and `Shell`, the two big-

gest oil companies are using a kind of

Garamond for their corporate identity.

Also `Apple` took a alternated version

of if for branding years ago.

Examples: Garamond, Bembo, Goudy

Old Style, Palatino

Garaldes (Garald, Aldine, Old Style)

7 - Garaldes

Stempel Garamond Roman

Bembo ItalicBembo Semibold

Bembo Extrabold ItalicBembo Bold Italic

Palatino - Pack my box with five dozen liquor jugsPalatino - Pack my box with five dozen liquor jugs

Goudy Old Style - Pack my box with five dozen liquor jugs

Goudy Old Style - Pack my box with five dozen liquor jugs

Perpetua - Pack my box with five dozen liquor jugsPerpetua - Pack my box with five dozen liquor jugs

Upright stress

Wedged - shaped serifs

Horizontal cross bar

- CLASSIQUES - DE ROSS / GRANDJEAN - GARALDES

For examining the `Rèales` or `Transi-

tional` we have to go back to the age

of enlightenment in the 18th century.

A time, which has been determined

by the French and American Revo-

lution. One of the most influential

examples is Philippe Grandjean‘s

“Romain du Roi” (King’s Roman) for

the French Crown, in person Louis XIV

around 1702.

As the name already says the `Tran-

sitional’ should be an intermediate

between the modern and the old

style types. So this one should de-

tach from the `Garaldes` (Old Style)

and all the traditions connected to it.

Jacques Jaugeon, at this time mem-

ber of the `French Academy of

Science` developed fonts at the basis

of a 48x48 grid, outlining a very sci-

entific approach to remove the hand-

written influences.

Before taking a closer look at the

characteristics another very impor-

tant name has to be mentioned in

relationship with the `Transitional`

typefaces – John Baskerville. By focus-

sing more on the spacing in-between

letters Baskerville earned a huge po-

pularity already within his lifetime.

After a meeting Benjamin Franklin

he took Baskerville’s type back to the

US, where it got used for the federal

government publishing.

Working out the `Transitional`

typefaces in comparison to the `Garal-

des` an even greater contrast between

strokes is recognisable. Furthermore

it can be noticed that the wedged-

shaped serifs are getting more ho-

rizontal and the upper right stress is

gone by finding vertical stems now.

Nowadays `Transitional` types are

often used for newspapers (The

Times) and became noticed due to

the fact that Apple and Microsoft

have some of them (Times) integrated

as a standard font.

Examples: Baskerville, ICT New Bas-

kerville, Prospect, Times Roman

Rèales (Realist, Transitional, Neoclassical)

8 - Rèales

Baskerville Bold ItalicBaskerville Semibold ItalicBaskerville Semibold

Baskerville Bold

Baskerville Italic Baskerville Regular

Vertical stem - no stress

Nearly vertical, but stillwedged-shaped serif

MComparison of old Romain du Roi and modern Baskerville font

High difference between strokes

- CLASSIQUES - BELL / GRANDJEAN - RÈALES

The `Manuaires` are based on hand-

drawn originals the early monks crea-

ted, where every letter is separated

from the other. Usually these types

were written with a brush or bold pen

at the highest accurate level. Due to

that this typeface is mainly used for

headlines and display instead for

body text.

In Maximilian Vox’s more compact

nine-part scheme he originally

included `Blackletter` and `Unicial

faces` into this category.

Having a closer look at the charac-

teristics of this typeface a standoff

regarding to the `Scriptes` is notice-

able. In contrast to the right slanted

letters we will find here vertical fonts

with handwritten characteristics.

Different directions having their

origins in the straight Antique and Ita-

lic, which are counteracting the static

by giving the fonts a certain move-

ment.

Using a broad tongue is showing a

well-kept word design whereas the

Redis-tongue and different brushes

are often used for heavy designs,

underlining the origin and authentici-

ty of the font designer.

Probably the most popular font in

this classification is `Fraktur`. This is a

further development of the `Schwa-

bacher` font combined with the skin-

niness of the Gothic era. Especially at

the capital letters the sparkling forms

are eye-catching.

Examples: Fraktur (different variations,

Bolide, Banco

Manuaires (Manual, Graphic)

9 - Manuaires

- ASHLEY / BALZAC - MANUAIRES

The beginning of the `Scriptes` is

dated back to the old times of the

Romans, where it was used for con-

tracts of purchase. Within the 16th

century the handwriting of the

`Humanists` lead to the `Cancelleresca

corrente` – the cursive script of the

Antiqua. In the following centuries

especially in European grapho-

masters and engravers refined this

typeface to perfection. To this date the

English and Italian scripts are unique

with its exact, fine brushes created

namely by writing-masters like Geor-

ge Bickham, George Shelley and

George Snell. A huge amount of

gentle, but also powerful scripts

made with divers feathers and

brushes were originated in the 20th

century.

Characterising this typeface we can

see letters often connected to each

other. Nearly all of them are written

with a quill having a strong slope

imitating the copperplate script.

As a platform the italic type can be

mentioned, seeing the `Scriptes` as a

more distinct form of them.

Today most of the time this typeface

is used for a minimal amount of text,

due to the fact that is hard to read a

whole text in this handwritten form.

Moreover a vertical stress is obvious.

In contrast to the `Rèales` the transi-

tion between the strokes is minimal.

Furthermore lots of typefaces related

to the `Scriptes` show at lowercase

letters and thick serifs.

The general outlook can be descri-

bed as elegant and decorative, giving

a personal touch to the copy, whether

in advertising or for personal use.

That’s why you can often see them

on Valentines Day cards or wedding

invitations.

Examples: Mistral, Shelley, Zapfino,

Lucida Handwriting, Künstler Script,

Calflisch Script, Dalliance, Cézanne

Scriptes (Script)

10 - Scriptes

Zapfino Extra LT OneZapfino Regular

Zapfino Extra LT Pro Regular

Mistral - Pack my box with five dozen liquor jugs

Künstler Script

Upper-right-stress

Thick serifs

Pack my box with five dozen liquor jugsDalliance MediumPack my box with five dozen liquor jugs

Mistral

Dalliance

- BALZAC / MERCURIUS - SCRIPTES

The `Incises` typeface finds its place

between the serif Renaissance and

the sans serif faces. Comparing them

to other classifications the `Glyphic`

are most of the time exclusively used

at printing types and often underre-

presented, whether in the modern

typography nor in the past. The name

arose from their reference of letters

being carved into stone.

In the mid 20th century they had their

revival, due to many individualistic

alphabets created for book covers

and posters. These by calligraphic

letterforms inspired designers were

mainly based in Germany, Nether-

lands, Austria and Britain.

The tradition of Dutch and English

mainly straight and angular letters

got loosened up with the input of the

German-speaking countries. Three

important names in connection to

this typeface are the Dutchman

Boudewijn Ietswaart, the British

Michael Harvey, who both stated the

post – 1945 book jackets and got

highly influenced by the German

designer Helmut Salden.

Looking for differences to the serif

based typefaces the `Incises` have

a flared stroke. Quite often the let-

ters are tapered in the middle and

altogether these changes can be

referred back to the `Verjüngung`

(German, `Verjonging – Dutch) or

literally known as the rejuvenation.

The proportions are close to the one

`Humanist` typefaces have.

Recognizable are `Incises` fonts by

their minimum contrast in stroke

weight and their triangular-shaped

serifs. The most known fonts in rela-

tion the `Glyphic` are Optima from

Hermann Zapf and Albertus from

Berthold Wolpe.

Example: Albertus, Optima, Quorum,

Cartier Book

Incises (Glyphic, Incise)

11 - Incises

Optima ItalicOptima Regular

Optima Extra BlackOptima Bold Italic

Pack my box with five dozen liquor jugs

triangular - shaped serifs

Albertus Medium

100 %95 %

Minimum contrast in stroke weight

- PARIS / MERCURIUS - INCISES

As seen in the `Vox-classification`

page the original arrangement of Vox

contained 9 groups. The ATypI added

two more classifications, the `Blacklet-

ters` and the `Non-Latins`, which you

will find at the following page. In the

earlier nine-part scheme `Blacklet-

ters` were included in the `Manuaires`

(Graphics).

The history of this font family is

stated back to the Western Euro-

pe in the mid 12th century and is

based on early manuscript lettering.

Furthermore the `Blackletter` typeface

was used in one of the first books

ever produced in Europe – the Gu-

tenberg Bible. That’s why it is often

called `the oldest of fonts` and intro-

duced a new era in typefaces for prin-

ting. With the start of the 15th century

`Blackletter` lost its popularity in a

broad area due to the fact that it is

hard to read as body text and other

typefaces (Roman, Italic) were easier

to print. Only Germany and the Ger-

man speaking countries stuck to this

typeface at this time.

Mentionable as characteristics are the

dramatic contrast between thin and

thick strokes. Letters are modelled

on late medieval handwritings with a

broad-nibbled pen, showing pointed

and angular forms. Lower case letters

often show a thin diagonal serif.

Nowadays this type can be found

at various platforms. As mentioned

before and regarding to its hard

legibility it can usually be found at

posters, headlines and signs. One

of the biggest newspapers of the

world, `The New York Times` is using

`Blackletter` as well as `Corona`, `Dis-

neyland` or the famous heavy metal

band `Motörhead’. Even rapper like

Snoop Dogg used it on the cover of

his `Rhythm and Gangsta` album.

Examples: Cloister Black, Deutsche

Zierschrift, Germanica, Old English

Blackletter

12 - Blackletter

Embossed Germanica Regular

Fluted Germanica Regular

Plain Germanica RegularShadowed Germanica Regular

Deutsche ZierschriftPack my box with five dozen liquor jugs

Pointed and angular forms thin diagonal serifs

Contrast thin and thick strokes

- ADDED BY ATYPI TO THE ORIGINAL NINE-PART-SCHEME

This classification summarizes all

writing systems not based on the La-

tin alphabet, like Greek, Cyrillic, He-

brew, Arabic, Chinese and many more.

Within this text I just want to give an

overview about the different historical

backgrounds these typefaces have.

The Greek script has been

used since the 8th century BC and is

consisting 24 letters instead of the in

Western and Middle Europe common

26 letters. Next to that the Greek let-

ters are very often used in terms of

military (alpha, beta, omega, …) it has

been the first alphabet providing a

written symbol per sound, whether for

vowels or consonants.

The development of Cyrillic typogra-

phy has its origins in the medieval sta-

ge up to the late Baroque. These Cyril-

lic letters are mainly with strokes often

close or connected to the following

letters.

The Hebrew script (Jewish script,

Square script, Block script) is making

a huge difference to others by reading

and writing it from the right to the left.

With its 22 letters the `Square script’

originally contained only consonants.

Later vowels were indicated with se-

parate vowel points and got nowadays

fully integrated in the modern usage.

The Arabic script (Arabic ab-

jad) is as the name already tells desi-

gned for writing the Arabic language.

Like the Hebrew script it is written from

right to left, often in a cursive style. The

alphabet includes 28 letters all stan-

ding for consonants, which is called

`abjad’.

Chinese typefaces are logograms and

the oldest continuously used system of

writing in the world. The ten thousand

characters comprehensive frame-

work provides mainly morphosyllabic

letters with an unambiguous meaning.

Over the years next to the traditional

Chinese a simplified Chinese develo-

ped making it easier to learn.

Non - Latin

13 - Non - Latin

Cyrillic

Hebrew script

Chinese

Arabic -

- ADDED BY ATYPI TO THE ORIGINAL NINE-PART-SCHEME

This text shall describe some of the

latest changes of the modern

typography.

The technical revolution of personal

computers made it possible to de-

sign your own, stylish typefaces. Font

designer are no longer limited to the

metal types by using vector or 3D pro-

grams like Illustrator or Cinema 4D.

Nowadays we can find lots of new very

attractive examples, whether used for

the art, videos and logo or for a who-

le brand identity. One example of this

is `Channel 4’ in England. They have

created a plain, but still 3D-looking

logo and build up their whole brand

experience around it. Especially in the

advertising world this campaign or re-

design proved popular. The basis for

these 3D examples are usually non-

calligraphically font, because their fine

and sometimes squirreled brushes are

too thin and too much for a nice 3D-

visualization.

Platforms like dafont.com or myfonts.

com provide space for amateur and

professional designers to present their

typographical ideas.

More examples for new type-classi-

fications are graffiti, theme-related

fonts (fire / ice) and typefaces not only

concentrating on the font itself, but

also on the surrounding. As usual you

will find some examples at the right

side underlining what I thought about.

The huge amount of already existing

fonts and the possibility to create

them way easier than it was in the past

will give us nearly uncountable oppor-

tunities in future. This of course will

make it more difficult for companies,

but also for designers, to find or create

something unique making a difference

to other companies and typefaces.

Modern Western

14 - Modern Western

This report was written inBooksSurhone, L.M., Tennoe, M.T., Henssonow, S.F. (2010), VOX - ATypI classification Betascript Publishing

Websites

http://www.atypi.org/

http://ilovetypography.com/2007/11/21/type-terminology-old-style/

http://www.graphic-design.com/Type/bergsland/humanist.html

http://www.paratype.com/help/term/terms.asp?code=147

http://www.letterfontain.nl

http://retinart.net/typography/blackletter/

http://www.sitepoint.com/the-blackletter-typeface-a-long-and-colored-history/

http://dynamicgraphics.com/dgm/Article/28549/index.html

http://www.plainlanguagenetwork.org/type/utbo130.htm

http://issuu.com/randynarvaez/docs/vox

http://vau-ef-be.beepworld.de/gebrochene.htm

http://www.typografie.info/2/wiki.php?title=Hausschriften-Liste

http://issuu.com/pbrenes/docs/librillo_tipografias_completo_sin_guias

References(1) Robin Landa, Graphic Design Solutions book, p. 74(2) http://www.graphic-design.com/Type/bergsland/humanist.html

GraphicsPage 04: http://www.fonts.com/NR/rdonlyres/C21D1D52-E711-48ED- BDDC-F90C05E99E63/0/FYTI_Anatomy.pdfPage 05: http://rocbo.chez-alice.fr/typo/img/vox_roue.jpgPage 17: http://www.designboom.com/weblog/cat/8/view/18961/3d- alphabet-shows-the-history-of-type.html

Sources

Avenir Next LT Pro 12ptThe quick brown fox jumps over the lazy dog and feels as

Avenir Next LT Pro 14ptThe quick brown fox jumps over the lazy dog and

Avenir Next LT Pro 16ptThe quick brown fox jumps over the lazy

Avenir Next LT Pro 18ptThe quick brown fox jumps over the

Avenir Next LT Pro 10ptThe quick brown fox jumps over the lazy dog and feels as he were in

Avenir Next LT Pro

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15 - Sources