Table Of ContentUSI NG THE T Y P E F I N D E
Method I: By Category
1. Choose the main category of typeface.
2. Using the thumb index (see right) turn to the beginning of
your category.
3. From the characteristics list at the beginning of the cate
gory, select the specific group within your category or
browse the entire category.
4 Turn to the specimen numbers listed, and select the style
that best suits the work.
Method 2: By Earmark
1. In trying to either match or choose a typeface based on the
style of particular characters, consult the recommended
order for selecting letters (see p. 97 bottom right). Then
select the letters you wish to consider.
2. Look through the Common Earmark Tables (see p. 98-106)
to see if the letters chosen have ‘common earmarks.’ If
they have, choose other letters.
3. Find the letter in the Special Earmark Tables.
4. Look through the illustrated specimen letters and match
your typeface with the ‘earmarks’ or choose a typeface
which has the earmarks, i.e. style, you desire.
5. When a match or selection has been made on one or more
letters, look up the typeface specimen from the numbers
listed just below the letter.
Method 3: By Index
1. With the typeface name, look up the name in the index
(see p. 276).
2. Refer to the typeface specimen line listed. The book has
specimens for 700 typefaces, but there may be more than
one name for the same face. The index has cross-ref
erenced almost 2000 typefaces. For typefaces which have
no specimen line number, you must look to the cross-
referenced faces for a specimen line number listing.
3. If the typeface is not listed, use the ‘earmark method' if
you have a sample of the typeface Since the advent of PCs
and DTP, the proliferation of typefaces has been geo
metric.
Imprint Acknowledgmentsto the first edition
Published by Moyer Bell Limited Weareindebtedtotheprincipalcollaboratorswhohelpedformulatethe
content o( thisbook Enchi Kono MA (RCA) MSTD and Alfred Lubran
ThiseditionCopyright 1991bySaremaPress(Publishers)Ltd Gordon FRSA Withouttheirconsiderableeffortsandskillitspublicationwouldnot
Rookledge have beenpossible
All rights reserved No part of this publication may be reproduced or OurthanksarealsoduetothestaffofThePerfectDesignCompany
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permission in writingfromMoyer Bell Limited. Colonial Hill. Mt Kisco. theartwork,tothestaffofGavinMartinLimitedandBrianThompsonfor
New York 10549 or 71 Great RussellStreet. LondonWCIB 3BN printproduction,toMelHobbsandhisstaffatTextFilmsettersforsupply-
ingalargepercentageofthetypefacespecimensandforgettingthemost
Original design and artwork by the Perfect Design Company Limited. outofa Linotron 202typesettingmachine
LBioongdraopnhicaNlenwotdeessibgynsSabryahPhRilooBkailneedsg.earHtiwstoorrkicablyiGnatvrionduMcatritonisnaLnidminteedw Alsotothefollowingcompaniesandindividualswhosuppliedtypeface
tLsytppdeecf.iamLceoensnsdcsoounmpppilalineaddtibCoaynpiLbtiyanloPthyCilpietB-yaPiaPnurelessLsi.mNiMetoewndtptaeynlpdieesTreht.etiVMnTgonboytNFyepMewTCGtoryrapppeohfriaacc-es sAitppeedec.xiDmPiehanogstroaaspnehdtitciinTnfygoprLemismaeitttiteoednr.sHALlipmBhieatrebtdeh.tolFLdaicmAeiGtRe.od,nCchAhaeprteatxciteTLyripmPiehtseoedtt.otsiFenitgltmiLnicmgoimLtpeiodm-,-
tYioornk.TNhYecoverdesignisbySuzanne Lobelofthe MadkatStudio. New stiitoino,n,PiLninnaoctlyepeP-hPoatulotLyipmeiteLdi,miMtaerdgaanrdetSCtaelmvpeerlt,HTahaseMonotypeCorpora-
Christopher Perfect
Gordon Rookledge
LIBRARY OF CONGRESS 1983
CATALOGING IN PUBLICATION DATA
Perfect. Christopher ToJennie. Sorah, GavinandEmma foralltheir
Rookledge'sinternationaltypefinder theessentialhandbook patienceandunderstandingovertheyears (GR)
oftypefacerecognitionandselection ChristopherPerfectand
Gordon Rookledge—NewEdition Formywife, Tessa. (C.P.)
Includesindex andbibliographic referencesISBN 1-55921-052-4(pbk
)
I. Printing—Specimens—Handbooks, manuals, etc. 2 Type and type-
founding—Handbooks, manuals, etc I Rookledge. Gordon. II Title.
Z250P42 1991
6862'24-dc20 90-22983
CIP
Printedinthe UnitedStatesofAmerica
DistributedbyRizzoli International Publications
2
11
CONTENTS
ImprintandAcknowledgementstothefirstedition 4
Prefaceand Introductiontothefirstedition 6
PrefacetothisrevisededitionbyAdrian Frutiger 7
Introductiontothisrevisededition 9
Part Texttypefaces
I:
ExplanationofCategories
1
1.Slopinge-Bar(VenetianSerif) 14
2.AngledStress/ObliqueSerifs(OldStyleSerif) 24
3.VerticalStress/ObliqueSerifs(TransitionalSerif) 30
4.VerticalStress/StraightSerifs(NewTransitionalSerif) 44
5.AbruptContrast/StraightSerifs(ModernSerif) 54
6.SlabSerif 64
7.WedgeSerif(HybridSerif) 72
8.SansSerif 80
'Earmark'Tables 97
Part2:Decorative(non-continuoustext)typefaces
ExplanationofCategories 56
1
1. FlowingScripts 159
2. Non-FlowingScripts(includingBlackletter& Uncial) 165
3.Unmodified (FormalTextShape) 18
4. Fat&Thin Face(Modified&Unmodified) 195
5.Ornamental 22
6. ModifiedSerif 229
7. ModifiedSansSerif 239
8. ModifiedOutrageous 257
Appendix Typefinderclassificationsystem/BritishStandardsClassification 266
I:
Appendix2: Biographical noteson leadingtypedesignersbySarah Rookledge 268
Biography/Furtherreading 275
Index 276
Prefacetothefirsteditionby Introductiontothefirstedition
HerbertSpencerRDIDrRCA
Therecognitionandselectionoftypefacesisaregulareveryday
Aswithotherinspiredinnovations suchasthesafetypin,the taskforthepractisinggraphicdesignerandtypographer.Yet,up
paperclip,thezip-fastener,andtheball-pointpen nowthat untilnow,nosinglereferencesourcehasbeenavailabletoassistin
Rook/edge'sInternationalTypefinderishereonewondershowit theseprocesses.Thisbookhasbeenproducedespeciallytofill
waspossibletofunctionforsolongwithoutit Thoughitmaylack thisgap,servingasaninvaluableworkingtoolforeveryonewho
theuniversalsignificanceofsomeoftheotherinnovationsI workswithtype
mentioned,forthegraphicdesignerandtypographerthis
publicationiswithoutdoubtarealmilestone. expIetrisitehneceeddittyopr'osgreaxppheerrise,ntcheetmhaatjoortihteyrotfhcarneaetxipveerpteoorplheighhalyv-e
Fundamentalchangesinprintingtechnologyandtherapid difficultyinrecognisingandidentifyingindividualtypefaces.
developmentofalternativemediafordistributingideasand Therefore,theprimarypurposeofthebookistosatisfythisneed
informationduringthepasttwenty-fiveyearshavereleaseda andsimplifythisessentialtaskasfullyaspossible.
tinoervrietnatbloyf,nmeanwytybapde.designs-somegood,afewexcellent,and. Asecondarypurposeistohelpintheprocessoftypeface
selection.Thegraphicdesigneroftenhasdifficultyinobtaining
Thisbookwillbeused,first,asaninvaluableworkingtool good,comprehensivereferencematerialdespiteanabundanceof
enablingthedesignerquicklytoidentifyandtoselectparticular typefounders'andtypesetters'catalogues.Itistheaimofthis
typefacesforhisimmediatepurposes.However,forthestudent booktomakethisjobeasierandtocontributetotheeducational
thispublicationwillserveanother-and.inthelongterm,perhaps experienceintheprocess.
asAttmnhhoeneeurdeneeuvldsfsesoyenaerrnnpmtttedhiooraasrvtldleeiotcrsphhitspaeimerynppa-gosucuorbtiilnletsuriahftisanibschtotteen,ir-tsct,wasfounebonsdeefcentteepidwaagoiceronthae:ootntrdbeyytwpatihehnhlelfiedgaidghbcmrelaeaasidgigseinhdrhntevfoaisertnwiioggntvnmhaesientt,adhgwnbieridleanlcttdthieiawhtfdceefuau.etdcineantogef ccttplyaoiarpnmsTteteshfiiiiofosnsifueucnncboatdotuoiiemsoorrpnektsisle'l.yixsaTctntd)uhiiereovtwrinyetdpanyoeenfptfddeatlifcihdnaeseottscsoe.ebwsstoTewosnhreokoeelteapccfcanlooratdtsnlesssaldli,uolfwlwTitetcehpaerxertdteeimovasaanionljlodsaoauysrDvssaettiiecoenlsotammtrbeaaalrubtkensliaeieavtsdteithtohei(nhnednaeeoltany-cphe
allreadersaswellasofalldesigners. choiceascomprehensiveaspossible.Readersshouldnotethat
Thistypefinder,then,isapublicationofmajorimportance. 'bastard'versionsofwell-knowntypefaceshavenotbeen
Thetaskofassemblingandarrangingtheenormousnumberof includedbutarecross-referencedintheindex.Thepossible
specimensitcontainsmusthavebeenadauntingone.Itwas numberofDecorativetypefacesisendlessso,withlimitedspace,
GordonRookledgewhorecognisedtheneedforsuchabookand selectionhasbeenconfinedtoacross-sectionofthemore
itisduetohisenthusiasm,persistenceandtenacitythattheidea commonly-useddesigns.(NB.ltisnotthepurposeofthisbookto
hasbecomeareality.ChristopherPerfecthasworkedwith actasacompletetypefacedictionaryorspecimenbook.)
eewxvicotelhpvEteiiitochnheialoKroeidngioitn,oarltioaclobnrdiecndegipcttahtfeoiropnrtohaijnsedcbtodeotskoi,fgranunisdtk,iiloilnn.tcoBoodleltfahibnooerfatathniedomn, nnootrTmthahelelweidesitiitgnohgrt'osfofiTnettxyetpnettyifpooenrfttaoecxeitsncsalerutedteailnlt,gha(esi.mfe.aarrnaeysgupolotashsreirrbolvema,arniin)at.tihoIetnwsaosf
publisherandeditor,aretobecongratulatedonhavingfashioned
enfoftec|tuisvtea,ttoyoplogbruatpahpy.owerfulweaponinthefightforbetter,more othneerteygpuelfaarcweefiagmhiltyw(hei.gc.hliisghmt,osbotldc,omitmaloicn,lcyonudseendsaenddewthc.i)cahsitis
establishesthe'style'characteristicsofaparticulartypeface.In
ordertoobtaininformationontherangeofdifferentweightsand
variationsofatypefaceitissuggestedthatreadersshouldconsult
theirowntypesetters.
Whilsttheselectionandcompilationofthetypefacesinthis
bookwerecarriedoutwithgreatcaresomemayhavebeen
omittedwhichreadersfeelshouldbeincluded.Yoursuggestions,
submittedthroughthepublisher,willbewelcome.
ChristopherPerfect
GordonRookledge
PREFACE
ByAdrian Frutiger
Thecapital lettersofouralphabetarealready2000yearsold.Theirbasicformswerecarved into
triumphalmonumentsbythestone-masonsofAncientRome.Ourlower-caselettershavenot
fundamentallychangedfor 1000years,sincemonasticscribesfirstbegantoformwordsinthe
Carolingianminisculescript,roundingofftheletterswithflowingpenmanship.
Letter-forms,whethercarved,handwrittenorprinted,havealwaysreflectedthespiritoftheirtimes,
beingconstantlyrenewedbyindividualscribesandtypefounders,andnotleastbythetechniquesof
typesettingandprinting.
Duringrecentdecades,theadventofphototypesettingand rub-offletteringhasbroughtavast
increaseinthenumberofnewtypefaces.Theseresourcescontainboththebestandtheworstoftype
andtheirmultitudecanbebewilderingtotheuser.Toclarifythematter,thismassoftypefaceshas
repeatedlybeenclassifiedaccordingtohistoricalperiods,stylesortypesettingtechniques. Nowadays,
suchsimpleclassificationsarenolongersufficient,owingtothelargenumberofvariations,often
unhelpful,ofindividual letter-forms.
Publicationofthetypefinderhasbroughtacompletelynewaidtotheworldoftypography. Forthe
firsttime,itprovidesalogicalgroupingofallexistingalphabets,togetherwithcleardescriptionsof
individualletters.Thetangleoftypefaceshasbeencombedoutsoastoproducenewdivisionsand
classificationsofalphabetsthatwerepreviouslyjumbledtogetherinpilesofheavyspecimenbooks.
Forthecreativetypographer,whosejobistopresentwordstothereaderinacorrectand
completelylegibleform,thepresentworkisacompletelynewaid,enablinghimtoappreciatetypefaces
inanewdimensionanddresstheprintedmessageintherightclothing.
Modernreproductiontechniqueshavenotmadeitanyeasiertodealwithtype. Specificationofthe
We
pageimageisincreasinglyfallingintothehandsofuntrained people. hopethatthepresent reference
bookwillbedistributedbeyondthestrictlyprofessionalcommunitytoreachthe uninitiateduseroftype
andserveasanaidtodecision-making. Inthissense Iseethenew,enlargededitionofthetypefinderasthe
clearestguide,withtheveryworthytaskofpreservingtheauthenticityoftheprintedword.
Theauthorsandpublisherofthisauthoritativeworkhaveearnedthegratitudeoftheentiregraphic
world,and indirectlyofthereadingpublicasawhole. Ihopethatitwill beacceptedasaworldstandard
Adrian Frutiger
.
INTRODUCTION
Itissevenyearssince Rookledge'sInternationaltypefinderwasfirstpublishedasasinglereferencework
forthecorrectidentificationoftypefaces. Duringthistimeithasprovedan invaluabletoolforeveryone
whoworkswithtype. Forthisneweditiontheopportunityhasbeentakentoexpandthescopeofthe
bookaswellascorrectafewminorerrorsintheoriginal.
Thethreemainpartsoftheoriginaltypefinderhavebeenretained.Theyareasfollows:
Anat-a-glanceguidetotypefaceclassification,withasubstantialtypefacecataloguegrouped
1
accordingtoeightclassificationsforcomparativestudy.
2. Letter-by-letterrecognition(earmark)tableswithcross-referencestothetypefacecatalogue.
3.Afullycross-referenced index,bibliographyand notesforfurtherreading.
Theoriginaltypefinderleadstheusertothecorrectidentificationofatypefacespecimenbya
processofvisual inspectionandelimination.Thefirststepintheprocessisthefittingoftheface intoone
ofeightbasiccategories,usingtheclassificationguide.Thiseditionkeepsthissuccessfulmethodbut
prefaceseachcategorywithanintroductionexaminingthehistoricalbackgroundtoeachcategoryof
typefacedesign.
Thefirsteditioncontained700typefaces,thisneweditionupdatesthesewiththeadditionof
selectedfacesreleasedsincethatdate.
Thefinalnewfeatureforthiseditionisaneightpagesectiondevotedtosomeofthe leadingpeople
behindthetypefaces.Alphabeticallyarranged, itprovidesbiographical notesonoverfiftytypedesigners
fromGutenbergtothepresentday. Entriesarecross-referencedtothetypefacesincluded inthe
typefinder.Thissectionofthetypefinderisanabridged listfrom Rookledge'sInternational Handbookof
TypeDesigners,tobepublishedbySaremaPresslaterthisyear(1990).
Whilsttheselectionandcompilationofthetypefacesinthisbookwerecarriedoutwithgreatcare
somemayhavebeenomittedwhichreadersfeelshouldbeincluded. Yoursuggestions,submitted
throughthepublisher,will bewelcome.
Phil Barnes
Gordon Rookledge
Typeface
