The standard desktop typography reference for nearly half a century now appears in its fifth revision, with new resources sure to please today's graphic artists, desktop publishers, and website designers. Nearly 2,000 fonts cover every need from the most practical commercial designs to special-purpose seasonal and historic uses. Each typeface is arranged alphabetically for easy reference, with specimens of Roman, Lineale, and Script versions, usually in upper- and lower-case alphabets and numerals, along with information about the type's original founder or manufacturer, and date of its introduction. Along with dozens of new fonts, illustrations show cuts of many classic typefaces that can only be found here. Also revised: a glossary of technical terms and tips on how to classify types. 8 X 11 3/4.

The BBOFC is an expansive collection of carefully crafted typeface pair samples. The font pairings in BBOFC will inspire you and give you back time you need for your design projects. Use the combination examples straight out of the BBOFC in your next project, with other typeface software, or use them as a springboard for your own creativity. However you use the BBOFC, it's bound to inspire and is a trustworthy companion to consult for all kinds of design projects and general study of typography.

The Geometry of Type explores 100 traditional and modern typefaces in detail, with a full spread devoted to each entry. Characters from each typeface are enlarged and annotated to reveal key features, anatomical details, and the finer, often-overlooked elements of type design, which shows how these attributes affect mood and readability. Sidebar information lists the designer and foundry, the year of release and the different weights and styles available, while feature boxes explain the origins and best uses for each typeface, such as whether it is suitable for running text or as a display font for headlines. To help the reader spot each typeface in the wider world, the full character set is shown, and the best letters for identification are highlighted. This beautiful and highly practical work of reference for font spotters, designers and users is a close-up celebration of typefaces and great type design.

The international creation of typefaces after 1950 was decisively influenced by the Swiss type designer Adrian Frutiger. His Univers typeface and the machine-readable font OCR-B, which was adopted as an ISO standard, are milestones, as is his type for the Paris airports, which set new standards for signage types and evolved into the Frutiger typeface. With his corporate types, he helped to define the public profiles of companies such as the Japanese Shiseido line of cosmetics. In all he created some fifty types, including Ondine, Méridien, Avenir, and Vectora. Based on conversations with Frutiger himself and on extensive research in France, England, Germany, and Switzerland, this publication provides a highly detailed and accurate account of the type designer’s artistic development. For the first time, all of his types – from the design phase to the marketing stage – are illustrated and analyzed with reference to the technology and related types. Hitherto unpublished types that were never realized and more than one hundred logos complete the picture.