The anatomy of type: A graphic guide to 100 typefaces by Stephen Coles

By Stephen Coles

A visible deal with for a person who loves fonts and typographic design.The Anatomy of Type explores 100 conventional and sleek typefaces in loving aspect, with an entire unfold dedicated to each one access. the complete personality set from each one typeface is proven, and the easiest letters for identity are enlarged and annotated, revealing key gains, anatomical info, and the finer, often-overlooked components of style layout. Containing in-depth details on every thing from the dressmaker and foundry, the 12 months of liberate, and the several weights and kinds to be had, The Anatomy of sort is greater than a reference consultant to the intricacies of typeface layout. it's a visible send-up of a few of the world's such a lot loved typefaces, superbly displayed in brilliant colour.

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Created for The Times of London, it is derived from Plantin, but is decidedly more modern, with high contrast and thin serifs. Those details, and peculiarities like its relatively wide and heavy caps, make it less suitable for everyday typesetting — which is ironic, given its status. On modern substrates, Times is actually better in Display settings than Text, where Times Ten fares better. Fresher alternatives are Starling (Font Bureau, 2009) and Le Monde Journal. Good for: A non-designed, conventional office-document look.

Neue Helvetica Designer: (Max Miedinger, Eduard Hoffmann) Linotype staff // Foundry: (Haas) Linotype Country of origin: (Switzerland) Germany // Release year: (1957) 1983 // Classification: Neo-Grotesque Sans More than 50 years since its release, Helvetica is the world’s most widely known typeface. Its popularity is due in part to its attempt at idealized construction: contrast is minimal; strokes terminate at 90° angles; letter shapes and widths are unusually uniform, bucking conventional forms; and the overall texture is atypically even, almost homogenous.

If you want to go beyond the beige choices, you need objective criteria that can make finding the right typeface for a project not only likely, but fun. Stephen Coles is one of those people who, like myself, suffers from Typomania — that incurable, but non-lethal, disease which makes you read type specimens instead of popular literature. Stephen also has a typographic memory: he not only remembers what he has seen in those specimens — be they books or websites — but he also recalls the names of thousands of typefaces and can point anybody who asks to the proper reference point.

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