Dennis Hillers

ARH 246 History of Graphic Arts

Dr. Peter Barr

Assignment 7: Modern Typefaces—Bauhaus Universal, Times New Roman, and Futura, in the lens of “The Crystal Goblet”

In postwar Europe in the 1920’s, there was a movement to understand and improve communication by

intellectuals and people of good faith to avoid the horrific carnage of the Great War just past. Lives

were lost or destroyed by the millions and any number of different ideas were tried and tested to see if

there were any possible ways of discovering any means of avoiding “the Next War”. Ideas and idealism

created a brave new world of fashionable Socialism and even of Communism among the intellectuals

and leaders of Europe as a form of reaction against the destruction of war and of the conflict of empires.

Of many ideas in the marketplace, one potential way of improving communication was to develop a

new, better means of conveying information, and here the typographers could contribute. In Germany,

and also in England, there were efforts made to create new typefaces for the dominant media of the

day, print, and improvements in print technology could be seen as part of the larger effort to find a

means to avoid misunderstandings in the future.

Herbert Bayer was a gifted and early student

of the Bauhaus, who at 25 became a very

talented teacher and typographer, and as

professor of Printing and Typography and in-

house printer the Bauhaus organization circa

1926 lead by Walter Gropius, even at that

young age Bayer became an integral part of

the Bauhaus Movement, uniquely influential

as a printer poised for the future. In Bayer’s

creation of a typeface lies a much deeper

story of the rise of Modernism in typography and the beginning of the Modernist movement, with

brilliant personalities and minds of men such as Gropius, Maholy-Nagy, Kandinsky, Tschichold, and Van

der Rohe teaching along with men who are less on the popular radar, but very much distinguished,

influential artists who the Modernist movement flourished through.

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I will be discussing these people, needs, and criteria briefly to come to some answers and context

regarding three fonts which became revolutionary, and why Times New Roman survived to become

wildly commercially successful, Futura has enjoyed a successful run as a sans-serif face because it is

designed later, taking its audience into account for a moderated design change, and Universal fell short

of the idealism and dream of a universal typeface remained remarkable, but not successful, typeface,

but a successful precursor design for other sans-serif designs. It is my contention that the degree of

idealism and radicalism used by the artist designing his typeface had a direct effect on its success and

acceptance.

Designed in an increasingly chaotic outside world in Europe between the wars, these three fonts were

successors of each other in some ways, and independent of each other in others; but they all were

attempts to answer a need for a world that was going ever faster, and needed a faster tool to

communicate with in the dominant news medium of the day, the newspaper, books, and posters. Each

successively better learned from the design mistakes of the other, leading to a much debated discussion

of the virtues of typography being “transparent” in the media in 1936 London. It is this context and the

men who were the artists who changed typography significantly since their invention of Times New

Roman, Futura, and Bauhaus Universal that changed how we all read text, even to this day.

Bayer in 1926 was a brilliant student of Lazlo

Maholy-Nagy who had come full circle to become the

professor of printing at Bauhaus-Dessau, instead of

the student at age 26. It is one of those small

accidents of daily life which created a genesis of

Bauhaus Universal serendipitously-- Kandinsky’s

sixtieth birthday celebration gala, was planned by

Gropius, and as a last minute job, the Director forgot

that he needed to do publicity posters for the exhibition and gala.1 Bauhaus Universal was Bayer’s

answer… Bayer was challenged create a typeface that represented the shared ideas of constructivism

with internationalism in the Bauhaus faculty in a typeface which could be used internationally to

engender ease of reading by all people. But it had some obvious flaws in design as one constructed as a

1 Class notes, plus Cramsie for story. Any undocumented data in this report should be assumed to be from Patrick Cramsie, The Story of Graphic Design, Abrams, New York 2010. plus class notes.Photo credit: http://25-horas.com/wp-content/uploads/2014/01/06_Poster-para-la-exposici%C3%B3n-del-60%C2%BA-cumplea%C3%B1os-de-Kandinsky-Herbert-Bayer1926.jpg

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brainchild of one man, who followed an idealistic program to create a typeface that could be legible to

all, a philosophical use which was driven by internationalism and was driven by Bayer’s teachers and

employers as patrons, and was directly used as a form of logotype or symbol of the school and what its’

beliefs and ethos were. –this is a wry “no pressure” situation for a young man simply trying to keep in

a new job, working for his former professors and one assumes, heroes as well, to be certain.

Universal as first invented is given form and also suffers from entire

use of geometric primitives, Bayer created his design out of an overt

need given by his patrons to follow the always seductive challenge

to many typographers and calligraphers to create a “perfect”

typeface/lettering system with a compass, a ruler, and scribing tool

on a support alone. Universal is a contemporary to Esperanto in

language, and both suffer from too much good intent, with too many

influences to the confusion of the original goal of being a universal

system of communication.2 Because of that idealism and the

strictures put on him in design that were self-imposed, Bayer created an unbalanced system of letters

based on a single counter size held in approximately normal golden section box with only miniscule

letters, no majuscules at all, and a single text block and single convention interstitial spacing and for

ascenders and descenders. As well-intentioned as Universal was, and as solid a foundation for other

lettering systems to come, Universal unfortunately can appear childish, and it’s lack of compensation for

letters such trapped inside an unchangeable space give “m” or “w” the same space as ‘n” a very

cramped “k” and all descenders with a very short interval of descent, which can leave a reader confused

and spending more time trying to decipher what letter is which. . Another flaw generally is that the

contrast between the thinness of the ascender letters and the circularity of the “O”’s and rounded

letters is too great to be practical as well. Not having tails to ground the rounded letters for “b”, “d”, is

also cited as being a critical disadvantage. The general impression of Universal is one that is unbalanced

and awkward, and somewhat childish in its use. The font suffered further indignities by becoming a

favorite font of the hippy movment and getting a cultural label as the font of the flower children of the

late 60's as well, probably for its links to the peace movement in internationalism.

This possible confusion was addressed in the years to follow by more sound and more carefully created

“grotesk” styles of letters such as are detailed in period muster books of German typefaces, and

2 Photo credit: http://upload.wikimedia.org/wikipedia/commons/thumb/4/47/ABayer.svg/396px-ABayer.svg.png

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redesigned recently by such notables as Hermann Zapf in URW Grotesk, and Futura is directly a

successor in design elements and theory to Universal and other German Grotesk letter families, all

designed by Modernists who wished to take Germany out of its fraught and laden past as an imperialist

nation whose cultural identity was founded in no small measure on the several Gothic typefaces used to

nationalist advantage by the Second Reich for propaganda purposes. This overt use of letting as a

national symbol lead to the attempts to have Germans abandon Gothic after the Great War, with

predictable blowback from people who had read Gothic all their lives, and in a xenophobic time when

admitting any foreign idea was an admission of the loss in the war and guilt by extension, which was for

many of the German people in light of the barbaric terms of the Treaty of Versailles, defeatist and

hopeless after the war, and thus politically and socially charged and even more awkward and gauche.

The inappropriateness politically of a new school dictating massive cultural change who was barely

tolerated by the taxpayers of the district around it in the first place.

Any sans-serif typeface would have been considered rude and unpatriotic, but Universal with its socialist

baggage from the Bauhaus faculty would have received a particularly chilly reception during the 1920’s

in Weimar Republic Germany. In terms of one of the defining exhortations of the period, Wardes’

Crystal Goblet speech, Universal is too much involved in its own message of internationalism and

academic philosophy to be understood as a messenger alone without leaving a definite bias on the

message it is carrying. In its’ origins and philosophy, Bauhaus Universal cannot be a transparent

typeface, because it was designed from the beginning to be a message inherent in itself.

Patrick Cramsie affirms this rendition of Bayer’s creation in his discussion of the roots of Modernism in

Chapter twelve through thirteen of his book, and his argument informs some parts of the rest of this

paper. During the time of the Bauhaus, it was a hotbed of active Modernists and their allies, along with

the philosophy’s roots of Modernism’s growth and expansion. Cramsie discusses Modernist philosophy

not by name, but as an umbrella term for all the other “-isms” that drove the academic and philosophic

art community of the 1900-1930 era, even as he largely lauds Modernism, Cramsie himself cannot help

lampooning the early modernist movements such as Futurism somewhat by portraying Marinetti in

Chapter 12 as a bit of a crank for his complete dismissal of the past and childish love of anything fast as

being worth emulation.

The use of an “unpatriotic” and unappealing non-traditional font from Gothic Fraktur, Sans-Serif in

German is still referred to as “Grotesk”, also created waves against the new school. Bayer and his

supporters claimed that using a sans serif font was much more useful and legible than traditional gothic

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fonts for German. He also gracelessly (in)famously maintained that nationalism and four hundred years

of cultural tradition are poor arguments for maintaining the status quo pro ante regarding typography,

confirming him and his supporters as even more revolutionary Young Turks when it would have been

better if they would have kept their heads down. Constructivist and Positivist theoretical lines for art

was still alarming enough to the local magistrates who had to fund it to constantly threaten to withdraw

funding for the school, it certainly contributed to the perception that the Bauhaus was a group of leftist

cultural elitists and internationalists who were likely communist sympathizers and not to be trusted or

funded as a school and was so completely offensive to the National Socialists by 1933 to demand a

complete revision of the curriculum, but Mies van der Rohe as director, with the support of the staff,

closed the school instead, and emigrated to America with a few others following, but a number of the

staff or were made persona non gratia or worse in the years of Nazism to come.

The next place to visit on this exploration is London, in 1932, at the Times press room and typographer’s

office. In London, up to and leading up to 3 October1932 Stanley Morison, Victor Lardent (and possibly

Starling Burgess), worked as a design team for the Times of London to renovate the hodge-podge of

typefaces used to print the newspaper into a more legible and pleasing copy that took oil-based ink

better and faster3

As a tribute to the design team’s success over time; the typeface is one of the most used in the

world since Microsoft started using it as one of their standard typefaces for Word, and for their other

products. When it was created, Times New was greeted with less than enthusiasm, and professional

type designers pooh-pooh it as too overused, and not technically meritorious because of the digital

“cheats” used in modern displays on computers and online. There are movements among elites to “not

use Times, nor Bauhaus Universal, nor Comic Sans” that are as polemic and mean-spirited as any other

movement of stuffy purists. That mentioned, Times New is the most ubiquitous modern script on a

webpage one can find, it is fairly easy on the eyes, has an appeal to historic printed documents, and was

a notable improvement on the legibility and clarity of the Times of London from the day of first founding

and printing that helped the circulation of the times and kept its standing as a great newspaper .4

3Buttericks’ Practical Typography, Blog. A Brief History of Times New Roman http://practicaltypography.com/times-new-roman.html Photo Credit: http://en.wikipedia.org/wiki/Times_New_Roman#mediaviewer/File:Times_Roman_vs_Times_New_Roman.png 4 Monotype Corporation, History of Times New Roman. http://www.fonts.com/font/monotype/times-new-roman accessed November 11, 2014

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Times New has the advantage of a precursor script Plantin from which Victor Lardent at the English

office of Monotype had to work from (or away from, rather), after an article criticizing the shopworn

look and printing quality of the Times was written earlier in 1931 by Stanley Morison.5 Morison himself

was a talented typographer who had much experience as a book design editor for Penguin and for his

own consulting business before contracting with Monotype in 1927. He was also credited with the

revival of Baskerville and Bembo along with other typefaces before consulting on the creation of Times

Roman in 1931-2.6

In London, up to and leading up to 3 October

1932 Stanley Morison, Victor Lardent (and

possibly Starling Burgess), worked as a design

team for the Times of London to renovate the

hodge-podge of typefaces used to print the

newspaper into a more legible and pleasing

copy that took oil-based ink better and faster.

As a serif typeface, Times New Roman creates

an aura of respect for the words written with

it. Because it is “easy to read but is also

described as open, gentlemanly, and even boring”. These qualities make Times very readable, and

almost unsurpassed as a Font for hard copy print, which is why average people and professionals still

use it time and time again for that purpose.7 The elements of style and construction that differentiate

Times from other fonts are best shown rather than explained by a graphic below:

5 Wikimedia Foundation. Times New Roman. http://en.wikipedia.org/wiki/Times_New_Roman accessed November 10, 20146 http://en.wikipedia.org/wiki/Stanley_Morison 7 Degreed.com. Blog. Top Ten Facts about Times New Roman http://degreed.com/blog/top-10-facts-times-new-roman/ accessed November 14, 2014.

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8

The literature on Times does not go into these design points well, probably because the font is

still under copyright and licensing agreements, but the amount of work involved in creating a font with

these refinements and adjustments to earlier Roman fonts to create a reader’s font which performs well

technically in mass production yet condense the size of the words it creates to make it economical for

printing on paper because of its vertical oblique base spacing unit. The interesting part of these

innovations to a hand-written calligraphic hand are that none of the ears or shoulders nor tails of a

Times font set can be naturally calligraphed with a pen and ink –these are all ‘artificial’ forms and solely

typographic, yet on first impression, Times New Roman looks like a calligraphic Roman alphabet.

Lardent and Morison in their work during the ten year span of the scope of our discussion of

typography also ultimately had the task of creating a much more legible and readable ‘universal’

typeface that could convey the ever quicker pace of news and information. Times New Roman was

purpose designed to be a “transparent” script, ubiquitous, yet pleasing to the eye and unobtrusively

transparent for all its serifs, details, and swashes in a way that Beatrice Warde would likely praise in her

calls for simplicity of the messenger so that the message could be read easily and through without

interference by the typography. This is why it is still used in books and online to this day and adapted to

many different languages.

The growth of the more regular forms of Grotesk fonts in

Germany in the ‘20’s lead to a similarity of form and easy

legibility that created a demand for the fonts, in spite of how

strange they looked to more traditional readers used to Fraktur

Gothic fonts and their resulting unpopularity among older and

8 Photo Credit: http://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=0CAcQjRw&url=http%3A%2F%2Fericawillis-typography.blogspot.com%2F2011%2F03%2Ftimes-new-roman.html&ei=5mdnVI_bAcynyAS1zoCQDg&bvm=bv.79142246,d.aWw&psig=AFQjCNHcNb8SlfTTB1zzwpKogIwDMacV5A&ust=1416148995863131

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more conservative German readers. Paul Renner resolved to create a font in the period 1927-30 that

ran more “middle of the road” on appearance and strove for legibility, but not for theoretical geometric

perfection. Renners’ font family became Futura, a simple geometric typeface that also embraced the

reader’s experience over the typographer’s initial desire to create a “purer” typeface .

“Kinross names Futura as ‘the typeface “accepted by the new typographers as the most

satisfactory of the new (twentieth-century) sanserifs. Drawings and trial settings of the

typeface date from 1925, and it was first issued commercially in 1927. […] The

achievement of Futura was of a typeface that satisfied both the desire for a geometrical

typeface, constructed with ruler and compass, and for a typeface that composed well as

text, over a whole range of sizes. 9

Futura is legible because it leaves little to guessing, and no

ornamentation at all to distract from the message. The bodies of

the letters are direct and very geometric, based on a circle and

sections of that circle or at times a slight ellipse, and straight

lines, pared down in places to reduce the effect of blockiness or

heaviness with a noticeable negative space that gives Futura a

nice balance that is also designed to adhere to Warde’s

admonition for modern typefaces to be ‘transparent’. Opposed

to Calibri, the typeface of this text, and a stylistic descendent of

Futura, the ascenders and descenders are slightly but also

noticeably longer which requires more spacing between lines, but also aids the eye by giving it less to

read at once.

“The book typographer has the job of erecting a window between the reader inside the room and that landscape which is the author's words. He may put up a stained-glass window of marvelous beauty, but (it is) a failure as a window; that is, he may use some rich superb type like text gothic that is something to be looked at, not through.”

-Beatrice Warde, The Crystal Goblet, 193610

9 http://fontsinuse.com/uses/5/typefaces-at-the-bauhaus Photo Credit:

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Beatrice (Becker) Warde was a typographer, scholar and groundbreaking feminist who stood in the

London art world as a luminary in her own right. She received a degree at Columbia in typography and

calligraphy and after graduation she found a job as assistant librarian at the American Type Founders

Company, in the course of her work there, she met Daniel Berkeley Updike and Stanley Morison, who

became very influential in her later life. She married Frederic Warde in 1922 who was the head of the

Princeton University Press and was also a gifted typographic designer in his own right, but after they had

agreed to move to London in 1925, the Wardes divorced amicably. Warde then ghost wrote by

pseudonym a documentary of her discovery (in English literature) of the work of Claude Garamond and

the typeface associated with him. This series of books won "Paul Beaujon", her alias, a job at the

Monotype Corporation, much to the surprise of the men at Monotype, Beatrice accepted the job for her

pseudonym and Monotype kept its integrity by hiring her as an editor, and then promoting Warde to the

post of Publicity manager in 1929

After publishing her discovery of Garamond's origin, was in 1927 offered the part-time post of editor of

the Monotype Recorder, and Warde accepted—to the astonishment of Monotype executives in London,

who were expecting a man. She was promoted to publicity manager in about 1929, and stayed on in

that job until 1960. During this time she also was associated with The Fleuron group, like many of the

London typographers here, who took active parts in the creation and writing of the journal Fleuron (later

edited by Stanley Morison) in London as a school of typographers and typography scholars with Warde

as one leading light, and Paul Renner as the unofficial leader of an ad hoc group of likeminded and

talented typographers that “school” can only be applied loosely to, but no less a school of thought.11

In 1934, this circle of colleagues and friends met to share and network and also to listen to Warde’s

latest paper to be given. The Crystal Goblet became a defining moment in the art history of 20th century

typography. Calling for clarity of message over the design of the messenger of type and of media, she

exhorted her friends and colleagues to aim for ‘transparency’ and to remain true professionals at their

craft.

Vulgar ostentation is twice as easy as discipline. When you realize that ugly typography

never effaces itself; you will be able to capture beauty as the wise men capture

10 Beatrice Warde, the Crystal Goblet. Reprinted at http://www.arts.ucsb.edu/faculty/reese/classes/artistsbooks/Beatrice%20Warde,%20The%20Crystal%20Goblet.pdf 11 Typography Online, Beatrice Warde. http://www.nenne.com/typography/bw1.html accessed November 14, 2014

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happiness by aiming at something else. Nobody (save the other craftsmen) will

appreciate half your skill. But you may spend endless years of happy experiment in

devising that crystalline goblet which is worthy to hold the vintage of the human mind. -

Beatrice Ward

Warde’s words in light of the three typefaces discussed in this paper are even more relevant. All

of them attempted to make communication better and easier for masses of people. Bayer was more

self-conscious and more driven by his patron’s desire for an overtly universal text style driven by

ideology, and became less than successful because of the meta-message it freighted in its curious and

sometimes less aesthetic, more difficult details. This degree of complexity and disregard of the culture

in which Universal became more the complex message than the transparent messenger created friction

and made Universal a lesser used font. Times New Roman was also driven by a patron who sought

several functions out of a new text style, but was also driven by one of its own artists in a curious

conflict of interest where Stanley Morison criticized the Times of London for its type style, yet ended up

consulting on its eventual replacement. That he and the primary designer for the Times: Lardent,

succeeded, is now commercial history because Monotype still licenses Times New Roman to the

computers of the world because of its easy clarity and indeed, its transparency to the average reader.

As many critics like to complain, it is so ubiquitous that we often fail to really notice it. Morison was a

friend of Wardes’ but he adhered to the tenets of the Fleuron group out of his own opinions and

methods of work. Paul Renner was an uneasy ally in the constructivist internationalist

philosophical movement of the Bauhaus, yet Renner and Tschichold would not take part

directly in any part of the Bauhaus, but rather in a parallel and more conventional movement

that involved other typographers in like affiliations to the Fleuron group in London with like

goals, Morison and Warde, Renner and Tschichold, and likely other like-minded typographers

attempted to put the ideals behind the Crystal Goblet to work in both Europe and America as

their abilities and powers of persuasion gave them scope. As Warde articulated in the Crystal

Goblet and her other scholarly writings, Tschichold also articulated a clear vision of what his

group aimed for in his New Typography:

>Asymmetric balance of elements>Content designed by hierarchy>Intentional white space utilization

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>Sans serif typography12

Viewed through the lens which Warde offers us in an ethic of putting the content and message out front

of the media that carries it in such a way that typography is servant, not so much partner to the

publication of printed materials, these rules balance and summarize some of Warde’s theories while

remaining true to their own school of Modernism, which is a unifying and overarching theory of how the

world might still become a better place though different professions and disciplines casting off the past

to begin a new future based on universalism and cooperation. In these three typographers and their

work, there is a lot to be discovered about how effective they were at achieving these goals, and how

enduringly each of them did contribute to the future they hoped to influence by standing back and

letting the message be carried seamlessly on their typefaces, though “no one appreciates half their skill”

to this day.

Works Cited:

Buttericks’ Practical Typography, Blog. A Brief History of Times New Roman.

http://practicaltypography.com/times-new-roman.html

Cramsie, Patrick. The Story of Graphic Design, Abrams, New York, 2010

Degreed.Com. Blog. Top 10 Facts About Times New Roman. http://degreed.com/blog/top-10-facts-

times-new-roman/ accessed November 12, 2014.

Graphic Design History. Jan Tschichold’s New Typography and his Relationship with the Bauhaus.

http://www.designhistory.org/Avant_Garde_pages/DieNeueType.html accessed November 9,

2014

Monotype Corporation. Fonts.com. History of Times New Roman.

http://www.fonts.com/font/monotype/times-new-roman November 11, 2014.

12 Graphic Design History. http://www.designhistory.org/Avant_Garde_pages/DieNeueType.html accessed November 9, 2014

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Frank, Priscilla. Huffington Post. An Abridged History Of Times New Roman, The Most Famous Font In

The World. November 13, 2014. http://www.huffingtonpost.com/2014/06/10/times-new-

roman-video_n_5473953.html. accessed November 13, 2014.

Warde, Beatrice. The Crystal Goblet.

http://www.arts.ucsb.edu/faculty/reese/classes/artistsbooks/Beatrice%20Warde,%20The%20Crystal

%20Goblet.pdf accessed November 13, 2014, quoted from outside source.

Wikimedia Foundation. Times New Roman. http://en.wikipedia.org/wiki/Times_New_Roman accessed

November 9, 2014. Editor cites: Loxley, Simon (2006). Type: the secret history of letters. I. B.

Tauris & Co. Ltd. pp. 130–131.

Photo Credits:

Hans Poelzig poster: http://www.moma.org/collection/object.php?object_id=5101

Futura demo graphic.

http://en.wikipedia.org/wiki/Futura_%28typeface%29#mediaviewer/File:Futura_Specimen.svg

http://en.wikipedia.org/wiki/Futura_%28typeface%29

Times Roman announcement: http://www.google.com/imgres?imgurl=http%3A%2F

%2Fpracticaltypography.com%2Fimages%2Ftally-of-types.jpg&imgrefurl=http%3A%2F

%2Fpracticaltypography.com%2Ftimes-new-roman.html&h=900&w=1200&tbnid=Tzn_NRwgO-mWxM

%3A&zoom=1&docid=TpIMnHjbbIJXVM&ei=xp5nVNDUMMj8yQTI8IHIDQ&tbm=isch&client=firefox-

a&ved=0CF8QMygiMCI&iact=rc&uact=3&dur=687&page=2&start=33&ndsp=49

Futura Textbook cover: http://www.google.com/imgres?imgurl=http%3A%2F

%2Fwww.gravitatedesign.com%2Fwp%2Fwp-content%2Fuploads

%2Ftumblr_m9xs42QmKM1rzom3ho1_1280.jpg&imgrefurl=http%3A%2F%2Fwww.gravitatedesign.com

%2Fblog%2Ftypeface-designer-favorite-of-the-month-5%2F&h=1024&w=724&tbnid=Jsi2oSJneXzKcM

%3A&zoom=1&docid=qC_DKrq96TM5iM&ei=EJ5nVMPuKcOTyATosYLgAw&tbm=isch&client=firefox-

a&ved=0CHYQMyg5MDk&iact=rc&uact=3&dur=1023&page=2&start=31&ndsp=39

archetype bayer poster: http://commons.wikimedia.org/wiki/Category:Herbert_Bayer#mediaviewer/

File:ABayer.svg

Additional material:

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Fonts in Use. Blog. http://fontsinuse.com/uses/5/typefaces-at-the-bauhaus

http://fontsinuse.com/uses/5/typefaces-at-the-bauhaus accessed November 8, 2014

Bauhaus Universal example: https://www.flickr.com/photos/n1ke/4856197389/in/photostream/

http://www.designhistory.org/Avant_Garde_pages/DieNeueType.html

halbfette grotesque musterbuch: https://www.flickr.com/photos/kupfers/6779932556/in/photolist-

a3kE7n-bk7VJU-bsCoXp-8p8hiB-8pbrch

http://fontsinuse.com/uses/5/typefaces-at-the-bauhaus

http://en.wikipedia.org/wiki/Times_New_Roman#mediaviewer/

File:Times_Roman_vs_Times_New_Roman.png

http://upload.wikimedia.org/wikipedia/commons/thumb/4/47/ABayer.svg/396px-ABayer.svg.png

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http://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=0CAcQjRw&url=http%3A%2F

%2Fshowinfo.rietveldacademie.nl%2Fakzidenz-grotesk

%2F&ei=IvBmVPbdJoP9yQS03oDgDA&bvm=bv.79142246,d.aWw&psig=AFQjCNEbRw1z01Dp6fkblBbHiNyh7WjE8A&ust=141611

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