The SurveyScoring Criteria
Imprint
Roger Black (Danilo Black, Inc., USA)Stephen Coles (Typographica, USA)
Jan Middendorp (Publizist, Berlin)
Veronika Elsner (Elsner + Flake, Berlin)
“Between 1974 and 1978 I funded my degree in graphic design by digitising typefaces. I had no idea at the time that type would come to define my life. Now the type foundry Elsner+Flake, which I run with my business partner Günther Flake, is celebrating its 20th birthday.” — Veronika Elser
Frutiger is characterised by clear, unambiguous forms which optimise the distinguishability of each individual character. The balance of the design reflects Adrian Frutiger’s genius and wealth of experience.
It is the “Sleeping Beauty” among Zapf’s typefaces. Like the artists of the Renaissance, Zapf strove to achieve ideal proportions, while still retaining a style of his own. The beautiful flourished characters in the italic fonts are particularly noteworthy.
Gerard Unger designed it in the 1980s for use in newspaper printing. Despite the constraints of Digiset printing technology, its originality and robustness have earned it supporters in most areas of application.
Today combines the proportions of a sans-serif typeface with the forms of a Renaissance Roman. Volker Küster’s type thus lends itself to a multitude of applications.
This script typeface by Petra Beisse has great personality, energy, and spontaneity.
Like Today, Syntax is a sans-serif implementation of a Roman typeface with a Humanist character. The slight slant to the right and the right-angled terminals give the type a dynamic feel.
ITC Stone comprises serif, sans-serif, and informal versions, and betrays Sumner Stone’s background in calligraphy. The three styles carefully harmonise with one another.
Günter G. Lange conceived the members of the Imago font family to be used together in body text and headings. The angular forms of the characters and the vertical stress lend a distinctive appearance to the type.
Slightly curved verticals give Bernd Möllenstädt’s Formata an interesting appearance. This design feature improves readability at small font sizes, and when used for display purposes it helps make the forms more easily distinguishable.
Lucida is the first large font family to be processed for desktop publishing. Easily readable, resolute, and relatively neutral, Kris Holmes’ family is suitable for both screen and print use.
Frutiger is characterised by clear, unambiguous forms which optimise the distinguishability of each individual character. The balance of the design reflects Adrian Frutiger’s genius and wealth of experience.
It is the “Sleeping Beauty” among Zapf’s typefaces. Like the artists of the Renaissance, Zapf strove to achieve ideal proportions, while still retaining a style of his own. The beautiful flourished characters in the italic fonts are particularly noteworthy.
Gerard Unger designed it in the 1980s for use in newspaper printing. Despite the constraints of Digiset printing technology, its originality and robustness have earned it supporters in most areas of application.
Today combines the proportions of a sans-serif typeface with the forms of a Renaissance Roman. Volker Küster’s type thus lends itself to a multitude of applications.
This script typeface by Petra Beisse has great personality, energy, and spontaneity.
Like Today, Syntax is a sans-serif implementation of a Roman typeface with a Humanist character. The slight slant to the right and the right-angled terminals give the type a dynamic feel.
ITC Stone comprises serif, sans-serif, and informal versions, and betrays Sumner Stone’s background in calligraphy. The three styles carefully harmonise with one another.
Günter G. Lange conceived the members of the Imago font family to be used together in body text and headings. The angular forms of the characters and the vertical stress lend a distinctive appearance to the type.
Slightly curved verticals give Bernd Möllenstädt’s Formata an interesting appearance. This design feature improves readability at small font sizes, and when used for display purposes it helps make the forms more easily distinguishable.
Lucida is the first large font family to be processed for desktop publishing. Easily readable, resolute, and relatively neutral, Kris Holmes’ family is suitable for both screen and print use.
Bertram Schmidt-Friderichs (TDC, Mainz)
Ralf Herrmann (TypoForum, Weimar)
Claudia Guminski (FontShop, Marketing, Berlin)
Ralf Herrmann (TypoForum, Weimar)
Claudia Guminski (FontShop, Marketing, Berlin)
