Posts Tagged ‘garamond’

by Chris Roberts

Here’s a ranked listing of Web Fonts’ top 100 most used Web fonts for August 2011:

Neue Helvetica® 87 Condensed Heavy
Administer BookItalic
Univers® 57 Condensed
Neue Helvetica® 77 Condensed Bold
Avenir® 85 Heavy
Garamond 3 Regular
Helvetica® Condensed Bold
Futura® Bold
Garamond 3 Italic
Bauer Bodoni® Black Italic
Neue Helvetica® 35 Thin
Sackers™ Gothic Heavy
Sackers™ Gothic Medium
Neue Helvetica® 55 Roman
Neue Helvetica® 57 Condensed
Neue Helvetica® 75 Bold
Avenir® 35 Light
Avenir® 65 Medium
Avenir® 55 Roman
Neue Helvetica® 45 Light
Trade Gothic® Bold
Futura Medium
Trade Gothic® Condensed Bold 20
Trade Gothic® Condensed Bold #20, Ext
Avenir® 95 Black
Neue Helvetica® 25 Ultra Light
ITC Legacy® Serif Bold Italic
Avenir® 95 Black, Ext
Futura® Book
Linotype Didot® Bold
Linotype Didot® Roman
Linotype Didot® Italic
Neue Helvetica® 67 Condensed Medium
Linotype Univers® 420 Condensed
PMN Caecilia® 75 Bold
Linotype Univers® 620 Condensed Bold
Futura® Bold Condensed
Neue Helvetica® 47 Condensed Light
PMN Caecilia® 85 Heavy
Linotype Univers® 320 Condensed Light, Ext
PMN Caecilia® 76 Bold Italic
Futura® Medium Condensed
Univers® 47 Condensed Light Oblique, Ext
Futura® Heavy
Neue Helvetica® 37 Condensed Thin
Monotype Grotesque® Condensed
ITC Avant Garde Gothic® Book
Avenir® 45 Book
VAG Rounded™ Black
Neue Helvetica® 45 Light, Ext
Neue Helvetica® 65 Medium
Avenir® 55 Roman, Ext
Rockwell® Bold
VAG Rounded™ Bold
Neue Helvetica® 55 Roman, Ext
Trade Gothic® Roman
Felbridge™ Regular
Neue Helvetica® 63 Extended Medium
Trade Gothic® Extended Bold
Neue Helvetica® 53 Extended, Ext
Helvetica® Condensed Bold, Ext
Neue Helvetica® 73 Extended Bold, Ext
Frutiger® 65 Bold
Neue Frutiger® Light
Eurostile® Next Regular
Eurostile® Next Extended Regular
Eurostile® Next Extended Bold
Neue Helvetica® 65 Medium, Ext
Eurostile® Next Extended Semibold
Eurostile® Next Semi Bold, Ext
ITC Avant Garde Gothic® Medium
Frutiger® 55 Roman
ITC Avant Garde Gothic® Bold
ITC Avant Garde Gothic® Demi
Trade Gothic® Light
Neue Frutiger® Bold
Neo Sans Regular, Ext
Trade Gothic® Bold, Ext
Neue Frutiger® Book
Univers® 67 Condensed Bold Oblique
DIN Next™ Regular
Helvetica® Light, Ext
Trade Gothic® Condensed 18
Helvetica® Rounded Condensed Bold
Palatino® Sans Arabic Regular
Frutiger® 45 Light, Ext
Neue Frutiger® Regular
Cochin® Roman
Helvetica® Condensed
Trade Gothic® Condensed #18, Ext
Neo® Sans Arabic Regular
VAG Rounded™ Light
ITC Lubalin Graph® Book
Neue Helvetica® 67 Condensed Medium, Ext
Avenir® Next Demi
Avenir® 35 Light, Ext
Neue Helvetica® 75 Bold, Ext
Neue Frutiger® Medium
Helvetica® Bold, Ext
Frutiger® 65 Bold, Ext

by Allan Haley

Two graphic designers, Matthew Robinson and Tom Wrigglesworth, decided that they wanted to find out which typeface was the most “earth friendly.” Their collaboration, called “Measuring Type,” took several popular typefaces and determined how much printer ink each consumed.

I’m suspect.

The study involved the Brush Script™, Comic Sans®, Cooper Black, Courier, Garamond, Helvetica®, Impact and Times New Roman® typefaces. The comparison was supposedly done by drawing out large-scale renditions of the typefaces using ballpoint pens, “allowing the remaining ink levels to display the ink efficiency of each typeface.”

Cute concept, but not exactly scientific. First, drawing a rendition of a typeface is not an accurate way to determine how much ink the actual typeface consumes. Second, if you’ve used a ballpoint pen, you know that you can do an awful lot of writing (certainly more than a half-dozen big letters) before any appreciable loss of ink is noticeable.

Then, there are the results. According to the study, Garamond used the least amount of ink, followed by Courier, Brush Script, Times New Roman and then Helvetica. Comic Sans, Cooper Black and Impact were deemed the ink-gluttons of the pack.

While I’m sure that Robinson and Wrigglesworth had the best of intentions with their study, it also ignores one of the main tenets of typographic communication: legibility. As I wrote in an earlier post, legibility is measure of how easy it is to distinguish one letter from another – a pretty important aspect when it comes to reading.

Garamond is generally considered to be a very legible typeface. Courier, because of its mono-width letters, however, is not. It is also less legible than the fourth place Times New Roman and the fifth place Helvetica. Because it is a script, the same holds true for the third place Brush Script.

If you want to save ink, the results of the Measuring Type study may be helpful. If, however, your goal is to make it easy for your readers to assimilate your content the study is a few points short of an em-quad.

Allan Haley
Allan Haley is Director of Words & Letters at Monotype Imaging. Here he is responsible for strategic planning and creative implementation of just about everything related to typeface designs.

by Allan Haley

The sixth installment in Illuminating Letters will be about the Century typeface family – the first typographic “super family.” The lineage of the first super family dates back to1894, to the fruits of the collaborative labors between publisher Theodore Lowe DeVinne and typographer Linn Boyd Benton. The Century family is in fact a dynasty. After several generations, it is now enjoying its third century as a powerful typographic communicator.

The Illuminating Letters series is about the most significant and enduring typeface families. Each article provides a brief history of the typeface; its design attributes, the availability of the original design and newer versions of the design, and tips for using the family. The first five Illuminating Letters articles have been about the Bodoni, Garamond, Franklin Gothic and Optima® typefaces. Future articles are scheduled to cover the Bembo®, Frutiger® and ITC Galliard™ designs. Each issue can also be downloaded as a print-friendly PDF.

If you would like us to shed some light on your favorite typeface, please let us know by commenting here – or by sending an email to, and we will consider it for our growing list of future topics for Illuminating Letters.

Allan Haley
Allan Haley is Director of Words & Letters at Monotype Imaging. Here he is responsible for strategic planning and creative implementation of just about everything related to typeface designs.

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