A seeming stroke of genius, these wide-load, all cap typefaces are deceptively similar and complimentary: where one is round, the other is rectilinear. Although they not originally designed to be mixed and matched, they work well together. Goudy, another of the 20th Century’s most prolific desigerns. Copperplate Gothic comes from the pen of Frederic W. Morris Sans™, based on Bank Gothic – Morris Fuller Benton designed that classic, too –, is seen below combined with Copperplate Gothic. Lightline Gothic was the thinnest and the lightest of the bunch, and Franklin Gothic was the boldest and the heaviest, while News Gothic fits somewhere in between. Still popular today, these three typefaces are ultra legible, and have been used in newspapers the world over for decades (not for body copy, per se, but for the little tiny “instructions” one finds there and about throughout the pages). During the first decade of the 20th Century, Benton designed a trio of Gothics: Lightline Gothic™, News Gothic™, and Franklin Gothic™. Morris Fuller Benton of the American Typefounders Company wasn’t responsible for all of the typefaces we classify as American Gothics, but it sometimes seems as if he drew the lion’s share. The “Godfather:” Morris Fuller Benton (1872–1948) Below are some of our favorite Gothics from the Linotype collection. Their forms are designed to solve multiple design problems. Gothic typefaces – not to be confused with Blackletter typefaces, which look “gothic” in a scary, medieval sort of way – are American sans serifs. meet the “American” Gothic fonts!Ī breed of no-nonsense typefaces, called “Gothics” in the United States, have been serving as heavy hitters in financial services, business, and newspaper sectors since the late 19th Century.
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