1. TRADE GOTHIC
CONDENSED No 18, BOLD No 2, VERSATILE No 1.

2. TRADE GOTHIC
HISTORY
Trade Gothic was designed by Jackson Burke between
1949-1963. Trade Gothic doesn’t really have an exciting
backstory or incredible design uses. What it does give is
a very legible san serif (partly due to it’s large counters*).
You can findTrade Gothic commonly in bookcover
designs, magazines, and newspapers.
*

3. {
I associate with it most, not just for its
loveliness, but for how honest it is. Trade Gothic
JASON SANTA MARIA
is sturdy and simple with little flourish or fuss.
http://jasonsantamaria.com/articles/if-you-were-a-typeface/ It’s dependable, industrious, plays well with
other typefaces, and can often be the anchor for
structure to be spun from in a design.

4. “ Typography must often draw
attention to itself before it will
be read. YET in order to be
read, it must relinquish the “
attention drawn.
Words of wisdom from Bringhurst’s Elements of Typographic Style.

5. “The Hidden Cost of War” // http://www.good.is/?p=12104
Notice how Trade Gothic remains very sturdy and constant but the way it’s
used compels the audience forward through the message.

6. Here, Trade Gothic Condensed is used. When using Condensed in titling, you can get
away with using the standard kerning (space between characters) but when using
Condensed in type blocks, give more space between characters to avoid it looking
like a big black box on your screen.

7. 1451 Mittelschrift / 1451 Engschrift / FF

8. HISTORY
DIN 1451 (aka DIN-Mittelschrift), the first version of this typeface. In
1936, DIN was chosen to be used as the standard for architectural uses,
engineering purposes, traffic, administrative and business purposes.
This typeface was design to be clean and very legible, which
is why DIN is used many contemporary german road signage.
It is fairly industrial and be percieved as severe at times, but
there is enough playful moments within the typeface so that
it can be used in uses outside of “industrial”

11. - Albert-Jan Pool

16. Bodoni
abcdefghijop 123 AQ abcdefghijop

17. Giambattista
Bodoni
engraver, type designer, typographer, printer, publisher.
“Bodoni achieved an unprecedented level of technical re nement, allowing him to
faithfully reproduce letterforms with very thin "hairlines", standing in sharp contrast
to the thicker lines constituting the main stems of the characters. He became known
for his designs of pseudoclassical typefaces.... His printing re ected an aesthetic of
plain, unadorned style, combined with purity of materials.”
- http://en.wikipedia.org/wiki/Giambattista_Bodoni

18. Small Aperature Ball Terminals
High Contrast Exaggerated Modulation Hairline Serifs
Historically: Romantic (18th & 19th centuries)
Typographically: Didone Classi cation; “slab-like serifs without brackets, vertical orientation of weight
axes, strong contrast between thick and thin lines, and an unornamented”