100 Beste Schriften
Assessing unquantifiable properties is a tricky business. How do you calculate aesthetic quality and its value to humanity? How do you compile a canon of the best typefaces? We settled on one objective and two subjective criteria, and weighted them as follows:

Sales figures: 40%
Historical significance: 30%
Aesthetic quality: 30%

Our ranking did not include free fonts or components from operating systems or software (Arial, Verdana, etc.), but focused exclusively on licensable printers’ typefaces. Types which, over the centuries, have been interpreted individually by several different foundries (Bodoni, Garamond, Futura and so on) were judged collectively and included as a single entry.
About Bar Roger Black (Danilo Black, Inc., USA)
Stephen Coles (Typographica, USA)
Jan Middendorp (Publizist, Berlin)
Veronika Elsner (Elsner + Flake, Berlin)
Bertram Schmidt-Friderichs (TDC, Mainz)
Ralf Herrmann (TypoForum, Weimar)
Claudia Guminski (FontShop, Marketing, Berlin)
Flash01 Jury