Downloaded 507 times
![Baskerville
Centaur
The first Roman type designed by Claude Garamond was used in an edition of the Erasmus book Paraphrasis in
Elegantiarum Libros LaurentiiVallae published in 1530.The Roman design was based on an Aldus Manutius type, De
Aetna, cut in 1455 by Francesco Griffo. After Claude Garamond died in 1561, most of his punches and matrices were
acquired by Christophe Plantin from Antwerp, the Le Be type foundry and the Frankfurt foundry Egenolff-Berner.[4]
The only complete set of the original Garamond dies and matrices is at the Plantin-Moretus Museum, in Antwerp,
Belgium.The term Garamond is today mostly applied to Garamond's designs for the Latin alphabet. Garamond
designed type for the Greek alphabet, but these, the glamorous and fluid Grecs du roi, are very different to his Latin
designs: they mimic the elegant handwriting of scribes and contain a vast variety of ligatures and alternate glyphs to
achieve this. As these are quite impractical for modern printing, several 'Garamond' releases such as Adobe's contain
Greek designs that are either a compromise between Garamond's upright Latin designs and his slanted Greek ones or
primarily inspired by his Latin designs.
The first Roman type designed by Claude Garamond was used in an edition of the Erasmus book
Paraphrasis in Elegantiarum Libros Laurentii Vallae published in 1530. The Roman design was based on an
Aldus Manutius type, De Aetna, cut in 1455 by Francesco Griffo. After Claude Garamond died in 1561, most
of his punches and matrices were acquired by Christophe Plantin from Antwerp, the Le Be type foundry and
the Frankfurt foundry Egenolff-Berner.[4] The only complete set of the original Garamond dies and
matrices is at the Plantin-Moretus Museum, in Antwerp, Belgium. The term Garamond is today mostly
applied to Garamond's designs for the Latin alphabet. Garamond designed type for the Greek alphabet, but
these, the glamorous and fluid Grecs du roi, are very different to his Latin designs: they mimic the elegant
handwriting of scribes and contain a vast variety of ligatures and alternate glyphs to achieve this. As these are
quite impractical for modern printing, several 'Garamond' releases such as Adobe's contain Greek designs
that are either a compromise between Garamond's upright Latin designs and his slanted Greek ones or
primarily inspired by his Latin designs.](https://image.slidesharecdn.com/mguvisualcommunicationsmodule3typographyslideshare-151110201705-lva1-app6891/75/Lectures-on-typefaces-144-2048.jpg)
![B O D O N I
Giambattista Bodoni
Giambattista Bodoni
was born on 16
February 1740 at
Saluzzo in Savoy (now
the Piedmont region of
Italy). He came from a
printmaking
background, his father
and grandfather both
being in that trade.[3]
He worked for a time in
Rome as an apprentice
in the Roman Catholic
Church's Propaganda
Fide printing house.
There, it was said, he
impressed his superiors
so much with his
eagerness to learn,
studiousness in mastery
of ancient languages
and types, and energy of
effort, that he was
allowed to place his own
name on his first books,
a Coptic Missal and a
version of the Tibetan
alphabet.[3]
Kiambattista Bodoni was born on 16 February
1740 at Saluzzo in Savoy (now the Piedmont
region of Italy). He came from a printmaking
background, his father and grandfather both
being in that trade.[3]
He worked for a time in Rome as an apprentice in
the Roman Catholic Church's Propaganda Fide
printing house. There, it was said, he impressed
his superiors so much with his eagerness to learn,
studiousness in mastery of ancient
Giambattista Bodoni
was born on 16
February 1740 at
Saluzzo in Savoy (now
the Piedmont region of
Italy). He came from a
printmaking
background, his father
and grandfather both
being in that trade.[3]
He worked for a time in
Rome as an apprentice
in the Roman Catholic
Church's Propaganda
Fide printing house.
There, it was said, he
impressed his superiors
so much with his
eagerness to learn,
studiousness in mastery
of ancient languages
and types, and energy of
effort, that he was
Parma
1740-1811
Kønigin der Schriften
Giambattista Bodoni
K
20 21](https://image.slidesharecdn.com/mguvisualcommunicationsmodule3typographyslideshare-151110201705-lva1-app6891/75/Lectures-on-typefaces-148-2048.jpg)
![Baskerville
The first Roman type designed by Claude Garamond was used in an edition of the Erasmus book
Paraphrasis in Elegantiarum Libros Laurentii Vallae published in 1530. The Roman design was based on an
Aldus Manutius type, De Aetna, cut in 1455 by Francesco Griffo. After Claude Garamond died in 1561, most
of his punches and matrices were acquired by Christophe Plantin from Antwerp, the Le Be type foundry and
the Frankfurt foundry Egenolff-Berner.[4] The only complete set of the original Garamond dies and
matrices is at the Plantin-Moretus Museum, in Antwerp, Belgium. The term Garamond is today mostly
applied to Garamond's designs for the Latin alphabet. Garamond designed type for the Greek alphabet, but
these, the glamorous and fluid Grecs du roi, are very different to his Latin designs: they mimic the elegant
handwriting of scribes and contain a vast variety of ligatures and alternate glyphs to achieve this. As these are
quite impractical for modern printing, several 'Garamond' releases such as Adobe's contain Greek designs
that are either a compromise between Garamond's upright Latin designs and his slanted Greek ones or
primarily inspired by his Latin designs.
Bodoni 72
The first Roman type designed by Claude Garamond was used in an edition of the Erasmus book Paraphrasis in
Elegantiarum Libros Laurentii Vallae published in 1530. The Roman design was based on an Aldus Manutius type, De
Aetna, cut in 1455 by Francesco Griffo. After Claude Garamond died in 1561, most of his punches and matrices were
acquired by Christophe Plantin from Antwerp, the Le Be type foundry and the Frankfurt foundry Egenolff-Berner.[4] The
only complete set of the original Garamond dies and matrices is at the Plantin-Moretus Museum, in Antwerp, Belgium.
The term Garamond is today mostly applied to Garamond's designs for the Latin alphabet. Garamond designed type for
the Greek alphabet, but these, the glamorous and fluid Grecs du roi, are very different to his Latin designs: they mimic the
elegant handwriting of scribes and contain a vast variety of ligatures and alternate glyphs to achieve this. As these are quite
impractical for modern printing, several 'Garamond' releases such as Adobe's contain Greek designs that are either a
compromise between Garamond's upright Latin designs and his slanted Greek ones or primarily inspired by his Latin
designs.](https://image.slidesharecdn.com/mguvisualcommunicationsmodule3typographyslideshare-151110201705-lva1-app6891/75/Lectures-on-typefaces-154-2048.jpg)
Uploaded byAlexei Kapterev
Lectures on typefaces
The document discusses typography, focusing on the history and characteristics of serif and sans serif typefaces, as well as the impact of typography on readability and emotional connection. It highlights the perspectives of notable figures like Steve Jobs and various font types including Garamond and Bodoni. The document also touches on the importance of selecting appropriate typefaces for different applications to enhance communication and aesthetic appeal.
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Lectures on typefaces
- 1. Lectures on Alexei Kapterev MoscowState University Higher School of Business Administration a TYPEFACES
- 2. I could notimagine a situation in which Apple would ever be bigger and more profitable than Microsoft. m WILLIAM GATES III Microsoft, founder and then CEO
- 3. But in theend, Microsoft didn’t create products of ethereal beauty. Steve believed you had to control every brush stroke from beginning to end … because he had a passion for perfection. m WALTER ISAACSON Steve Jobs’ biographer
- 4.
- 5. I learned aboutserif and sans serif typefaces, about varying the amount of space between different letter combinations, about what makes great typography great. It was beautiful, historical, artistically subtle in a way that science can't capture, and I found it fascinating. m STEVEN PAUL JOBS Apple, Inc. founder and then CEO serif and sans serif
- 6.
- 7.
- 8. I learned aboutserif and sans serif typefaces, about varying the amount of space between different letter combinations, about what makes great typography great. It was beautiful, historical, artistically subtle in a way that science can't capture, and I found it fascinating. m STEVEN PAUL JOBS Apple, Inc. founder and then CEO typefaces
- 9. Fedra Sans NormalItalic Fedra Sans Light Fedra Sans Bold TYPE FAMILY Семейство шрифтов TYPEFACE ГарнитураFedra Serif FEDRA Fedra Sans FONT Шрифт
- 10. I. Serifs II. Contrast III.Antiqua IV. Grotesque I WILL TRY NOT TO BOTHER YOU WITH TERMINOLOGY ź
- 11. I learned aboutserif and sans serif typefaces, about varying the amount of space between different letter combinations, about what makes great typography great. It was beautiful, historical, artistically subtle in a way that science can't capture, and I found it fascinating. m STEVEN PAUL JOBS Apple, Inc. founder and then CEO beautiful, historical, artistically subtle
- 12.
- 13. I learned aboutserif and sans serif typefaces, about varying the amount of space between different letter combinations, about what makes great typography great. It was beautiful, historical, artistically subtle in a way that science can't capture, and I found it fascinating. m STEVEN PAUL JOBS Apple, Inc. founder and then CEO about what makes great typography great.
- 14.
- 16. Mac OSX +Firefox Windows XP + Firefox
- 17. WHO THE HELL CARES? It’s just a font ◆ ◆ ß
- 18. Imagine you haveto stay at one of these hotels…
- 19.
- 20.
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- 24. MOST OF YOU VOTED FOR №4! ◆ ◆ Just what I’ve expected! ß CENSORED
- 25.
- 26.
- 27.
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- 29.
- 30. Source: Phil Renaud,2006 http://goo.gl/GOZYe Georgia 23 Trebuchet 18 Times 11 5– 5 4–
- 31. This is thecase with car dealers also. And I recently had an experience at Fiat of Manhattan that was nothing short of mind-blowingly bad. This is the case with car dealers also. And I recently had an experience at Fiat of Manhattan that was nothing short of mind-blowingly bad. RECALL http://hbr.org/2012/03/hard-to-read-fonts-promote-better-recall/ +14%
- 32. Lorem impu dolorsit amet, consetetur more. Lorem impus dolor sit amet, consetetur sadipsing elitrsed. Loremimpus dolor sit met... Lorem impu dolor sit amet, consetetur more. Lorem impus dolor sit amet, consetetur sadipsing elitrsed. Loremimpus dolor sit met... MOTIVATION http://dornsife.usc.edu/assets/sites/780/docs/08_ps_song___schwarz_effort.pdf 15.1 min. 8.2 min.
- 33.
- 34. Source: Benjamin Berman, David Dunning http://goo.gl/cMd3H Is it true that “we live in an era of unprecedented safety”? ( ) Yes: The claim is true ( ) No: The claim is false How confident are you in your conclusion? ( ) Slightly confident ( ) Moderately confiden ( ) Very confident
- 35. ~5% Source: Benjamin Berman, David Dunning http://goo.gl/cMd3H
- 36. The page fromJune 9-10, 1855, is notable because the handwriting changes suddenly, halfway down the page. On first inspection it appears to be written by two different people or perhaps someone with multiple personality disorder. The writing on the top half of the page is elegant but unreadable, the writing on the bottom half, awkward but entirely legible. The reason for the abrupt change becomes clear only through reading the journal.
- 37. The page fromJune 9-10, 1855, is notable because the handwriting changes suddenly, halfway down the page. On first inspection it appears to be written by two different people or perhaps someone with multiple personality disorder. The writing on the top half of the page is elegant but unreadable, the writing on the bottom half, awkward but entirely legible. The reason for the abrupt change becomes clear only through reading the journal.
- 38. The page fromJune 9-10, 1855, is notable because the handwriting changes suddenly, halfway down the page. On first inspection it appears to be written by two different people or perhaps someone with multiple personality disorder. The writing on the top half of the page is elegant but unreadable, the writing on the bottom half, awkward but entirely legible. The reason for the abrupt change becomes clear only through reading the journal. 2% The page from June 9-10, 1855, is notable because the handwriting changes suddenly, halfway down the page. On first inspection it appears to be written by two different people or perhaps someone with multiple personality disorder. The writing on the top half of the page is elegant but unreadable, the writing on the bottom half, awkward but entirely legible. The reason for the abrupt change becomes clear only through reading the journal. +
- 39. 2%DIFFERENCE Even though mostpeople can’t tell Baskerville from Georgia! ◆
- 40. TYPEFACES WORK BELOW THE CONSCIOUS LEVEL TOO ◆ ◆ If you can’t tell the difference doesn't mean it won’t affect you ß
- 41.
- 42. TYPOGRAPHYž creates an emotionalconnection
- 43.
- 44. Typography creates an emotional connection
- 48.
- 49.
- 50.
- 51.
- 52.
- 53.
- 54.
- 55.
- 56.
- 57.
- 58. I love you Ilove you
- 59.
- 62. You can’t creategood typography with Arial. MATHEW BUTTERICK Typography for Lawyers m
- 63. y y I love you Ilove you Arial Helvetica
- 64.
- 65.
- 66.
- 68.
- 69.
- 70. Jenson Cloister Renaissance Baroque OldStyle ModernTransitional Slab SerifAntiqua Serif Sans Serif Print Handwriting TYPEFACE < ✖
- 71. THERE IS NOUNIVERSAL TYPE CLASSIFICATION m m
- 72. Text Text PRAGMATIC Display MEMORABLE Display Main body testHeadlines Logos
- 73.
- 74.
- 75.
- 76. READABILITY ✤ There isno single “most readable typeface”, sorry ✤ Measure readability whenever you can ✤ Serifs are for paper, sans-serifs for the screen ✤ Good readability: Humanist sans-serif, Transitional serif ✤ Bad readability: Geometric sans-serif, Modern serif
- 77. Serif Sans-Serif Respectable, stable andclassy Modern, hip and edgy
- 78. Readable Humanist GEOMETRIC Warm, friendly andemotional — but sloppy Calculated and rational — but formal and cold Pragmatic and dependable — but boring and easily forgettable
- 79. 1. One fora logo — interesting & memorable 2. One for the main text — readable 3. Don’t use: Calibri, Times, Arial, Papyrus, Segoe Script/Print, Monotype Corsiva & Comic Sans TASK #3: PICK TWO TYPEFACES
- 80. Visual communications Lorem ipsumdolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum. LOREM IPSUM Moscow, 19.08.2015 Jannon< Optima< KAPTEREV
- 81.
- 82.
- 83.
- 84. Phoenician writing, 16century B.C.E.
- 85.
- 86.
- 87.
- 88.
- 89. SERIFS CREATE NICE LINES FOR THE EYE Good for paper and stone
- 90. Trajan’s column, 1century C.E.
- 91.
- 92.
- 93.
- 94.
- 95.
- 96.
- 97.
- 98.
- 99. Roman stone inscription,1 century C.E. - no spaces - capitals only
- 100. Italian handwriting circa1420 - spaces - no capitals
- 101. German gothic scriptcirca 1430
- 102.
- 103.
- 104. Carolingian handwriting, 9thcentury C.E.
- 106.
- 107.
- 108.
- 109.
- 110. Jenson’s book, 15thcentury C.E.
- 111. Jenson’s rotunda, 15thcentury C.E.
- 112. luntur imagines:&alia. Adobe Jenson NicholasJenson, ~1470
- 113. luntur imagines:&alia. Adobe Jenson NicholasJenson, ~1470
- 114. luntur imagines:&alia. Centaur (кириллицаесть в Venetian 301) Nicholas Jenson, ~1470
- 115. luntur imagines:&alia. Centaur (кириллицаесть в Venetian 301) Nicholas Jenson, ~1470
- 116. Where do the ITALICS comefrom? ß
- 117.
- 118.
- 120.
- 124. WIKIPEDIA WIKIPEDIA WIKIPEDIA The Free Encyclopedia TheFree Encyclopedia The Free Encyclopedia
- 125.
- 126.
- 127.
- 128.
- 130.
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- 135.
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- 137.
- 140. b bOld styleTransitional ➻
- 141. s s➻ Old styleTransitional
- 142. e e eOldstyle, Jenson Transitional, Baskerville ➻ Carolingian handwriting ➻
- 143.
- 144. Baskerville Centaur The first Romantype designed by Claude Garamond was used in an edition of the Erasmus book Paraphrasis in Elegantiarum Libros LaurentiiVallae published in 1530.The Roman design was based on an Aldus Manutius type, De Aetna, cut in 1455 by Francesco Griffo. After Claude Garamond died in 1561, most of his punches and matrices were acquired by Christophe Plantin from Antwerp, the Le Be type foundry and the Frankfurt foundry Egenolff-Berner.[4] The only complete set of the original Garamond dies and matrices is at the Plantin-Moretus Museum, in Antwerp, Belgium.The term Garamond is today mostly applied to Garamond's designs for the Latin alphabet. Garamond designed type for the Greek alphabet, but these, the glamorous and fluid Grecs du roi, are very different to his Latin designs: they mimic the elegant handwriting of scribes and contain a vast variety of ligatures and alternate glyphs to achieve this. As these are quite impractical for modern printing, several 'Garamond' releases such as Adobe's contain Greek designs that are either a compromise between Garamond's upright Latin designs and his slanted Greek ones or primarily inspired by his Latin designs. The first Roman type designed by Claude Garamond was used in an edition of the Erasmus book Paraphrasis in Elegantiarum Libros Laurentii Vallae published in 1530. The Roman design was based on an Aldus Manutius type, De Aetna, cut in 1455 by Francesco Griffo. After Claude Garamond died in 1561, most of his punches and matrices were acquired by Christophe Plantin from Antwerp, the Le Be type foundry and the Frankfurt foundry Egenolff-Berner.[4] The only complete set of the original Garamond dies and matrices is at the Plantin-Moretus Museum, in Antwerp, Belgium. The term Garamond is today mostly applied to Garamond's designs for the Latin alphabet. Garamond designed type for the Greek alphabet, but these, the glamorous and fluid Grecs du roi, are very different to his Latin designs: they mimic the elegant handwriting of scribes and contain a vast variety of ligatures and alternate glyphs to achieve this. As these are quite impractical for modern printing, several 'Garamond' releases such as Adobe's contain Greek designs that are either a compromise between Garamond's upright Latin designs and his slanted Greek ones or primarily inspired by his Latin designs.
- 145. Doppelgänger 13 Century Schoolbook Doppelgänger13 Times Doppelgänger 13 Georgia
- 146. ALBRECH DURER isdead but his ideas live
- 147. KK KOld styleTransitional ➻ ➻ Modern
- 148. B O DO N I Giambattista Bodoni Giambattista Bodoni was born on 16 February 1740 at Saluzzo in Savoy (now the Piedmont region of Italy). He came from a printmaking background, his father and grandfather both being in that trade.[3] He worked for a time in Rome as an apprentice in the Roman Catholic Church's Propaganda Fide printing house. There, it was said, he impressed his superiors so much with his eagerness to learn, studiousness in mastery of ancient languages and types, and energy of effort, that he was allowed to place his own name on his first books, a Coptic Missal and a version of the Tibetan alphabet.[3] Kiambattista Bodoni was born on 16 February 1740 at Saluzzo in Savoy (now the Piedmont region of Italy). He came from a printmaking background, his father and grandfather both being in that trade.[3] He worked for a time in Rome as an apprentice in the Roman Catholic Church's Propaganda Fide printing house. There, it was said, he impressed his superiors so much with his eagerness to learn, studiousness in mastery of ancient Giambattista Bodoni was born on 16 February 1740 at Saluzzo in Savoy (now the Piedmont region of Italy). He came from a printmaking background, his father and grandfather both being in that trade.[3] He worked for a time in Rome as an apprentice in the Roman Catholic Church's Propaganda Fide printing house. There, it was said, he impressed his superiors so much with his eagerness to learn, studiousness in mastery of ancient languages and types, and energy of effort, that he was Parma 1740-1811 Kønigin der Schriften Giambattista Bodoni K 20 21
- 149.
- 151. aaBaskerville Regular Bodoni72 Bold
- 152. CONTRAST Difference between thethickest and the thinnest part aaHuge Small
- 153.
- 154. Baskerville The first Romantype designed by Claude Garamond was used in an edition of the Erasmus book Paraphrasis in Elegantiarum Libros Laurentii Vallae published in 1530. The Roman design was based on an Aldus Manutius type, De Aetna, cut in 1455 by Francesco Griffo. After Claude Garamond died in 1561, most of his punches and matrices were acquired by Christophe Plantin from Antwerp, the Le Be type foundry and the Frankfurt foundry Egenolff-Berner.[4] The only complete set of the original Garamond dies and matrices is at the Plantin-Moretus Museum, in Antwerp, Belgium. The term Garamond is today mostly applied to Garamond's designs for the Latin alphabet. Garamond designed type for the Greek alphabet, but these, the glamorous and fluid Grecs du roi, are very different to his Latin designs: they mimic the elegant handwriting of scribes and contain a vast variety of ligatures and alternate glyphs to achieve this. As these are quite impractical for modern printing, several 'Garamond' releases such as Adobe's contain Greek designs that are either a compromise between Garamond's upright Latin designs and his slanted Greek ones or primarily inspired by his Latin designs. Bodoni 72 The first Roman type designed by Claude Garamond was used in an edition of the Erasmus book Paraphrasis in Elegantiarum Libros Laurentii Vallae published in 1530. The Roman design was based on an Aldus Manutius type, De Aetna, cut in 1455 by Francesco Griffo. After Claude Garamond died in 1561, most of his punches and matrices were acquired by Christophe Plantin from Antwerp, the Le Be type foundry and the Frankfurt foundry Egenolff-Berner.[4] The only complete set of the original Garamond dies and matrices is at the Plantin-Moretus Museum, in Antwerp, Belgium. The term Garamond is today mostly applied to Garamond's designs for the Latin alphabet. Garamond designed type for the Greek alphabet, but these, the glamorous and fluid Grecs du roi, are very different to his Latin designs: they mimic the elegant handwriting of scribes and contain a vast variety of ligatures and alternate glyphs to achieve this. As these are quite impractical for modern printing, several 'Garamond' releases such as Adobe's contain Greek designs that are either a compromise between Garamond's upright Latin designs and his slanted Greek ones or primarily inspired by his Latin designs.
- 157.
- 158.
- 160.
- 161.
- 162.
- 165.
- 166. aCONSTANTIA Triangular serifs а aaBASKERVILLE Transitional DIDOT Modern JENSON Old style
- 167.
- 168. gCONSTANTIA Triangular serifs g ggBASKERVILLE Transitional DIDOT Modern JENSON Old style
- 169.
- 170.
- 171. zzAdobe Jenson Bodoni72 zConstantia
- 172. Doppelgänger 13 Fedra SerifA Doppelgänger 13 Constantia Doppelgänger 13 Сentro Serif
- 173.
- 174.
- 178.
- 179.
- 180.
- 181. Yeah, that blowsmy mind too
- 182.
- 186.
- 187. TOYOTA TOYOTA TOYOTA Old and neo-grotesque Geometricsans-serifs Humanist sans-serifs
- 188.
- 189. Doppelgänger 13 Doppelgänger 13 NewsGothic Franklin Gothic
- 197. ALBRECHT DURER isdead but his ideas live
- 199.
- 200.
- 201.
- 202. FF DIN Bold Doppelgänger13 Franklin Gothic Medium Doppelgänger 13
- 205. Doppelgänger 13 Futura Medium FFDIN Bold Doppelgänger 13
- 206.
- 207.
- 214.
- 215. Doppelgänger 13 Doppelgänger 13 Phosphate CenturyGothic Regular Doppelgänger 13 Avenir Medium
- 216.
- 217.
- 218. a a Franklin GothicFutura ➻ а Helvetica ➻ GROTESQUE GEOMETRIC NEO-GROTESQUE
- 219. Doppelgänger 13 Doppelgänger 13 HelveticaMedium Futura Medium
- 220.
- 221.
- 222.
- 223.
- 230.
- 233.
- 234.
- 235. eFutura e e Franklin G.Jenson eGillSans 90˚ 45˚15˚ 90˚
- 243.
- 245. р рMeta MediumHelveticaMedium
- 246. k kMeta MediumHelveticaMedium
- 247. Doppelgänger 13 Doppelgänger 13 MetaMedium 96 Helvetica Neue Medium 96
- 249.
- 254.
- 257.
- 258.
- 259.
- 260.
- 261.
- 262.
- 263.
- 264.
- 265. 1. Very open“e” and “c” 2. Narrower than neo-grotesque while maintaining the same height e c 3. “Unnecessary” irregularities e c Fargo tt 4. Much more contrast Fargo Humanist or not?
- 266. The rest ofthem 3 A few more things
- 267.
- 268.
- 269. KHigh contrast Lowcontrast К
- 270. КKHigh contrast Lowcontrast
- 271. Antique Grotesque Serifs Sans-serifs High Contrast Lowcontrast Aa Aa
- 272. Antique Slab Serif SemiSans Grotesque Aa Aa Aa Aa Serifs Sans-serifs High Contrast Low contrast
- 273.
- 274. Antique Slab Serif AaAa Slab
- 275. ASans serifSlab serif FranklinGothic ⇢ Rockwell Slab
- 276.
- 277.
- 282.
- 283.
- 286. MarcellusWallace Rockwell Bold Marcellus Wallace AmericanTypewriter Regular Marcellus Wallace Clarendon Marcellus Wallace Officina Serif
- 287.
- 289.
- 290.
- 291.
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- 293.
- 294.
- 296. Serif Slab Serif SemiSans Sans Serif Aa Aa Aa Aa Serifs Sans-serifs High Contrast Low contrast
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- 301.
- 302.
- 303. Design is amajor priority because I know it’s what will set my business apart. BOO-KEUN YOON CEO, Samsung Consumer Electronics Division m
- 304. ALEXEI KAPTEREV www.kapterev.com alexei@kapterev.com +7 495764 1898 Visual communications m