The Bitstream version of Bell Gothic designed by Chauncey H. Griffith in 1938 for use in the telephone directories of the Bell Telephone Company. It is a good Sans Serif choice for listings, catalogues and directories due to its design is very space saving. The weight of the line is moderate and uniform. Besides as clear and easy-to-read font Bell Gothic is popular now for display and magazine advertising. Cyrillic version by Isabella Chaeva was released by ParaType in 1999. Italic styles added in 2009 by the same designer.

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Weights of the Bell Gothic typeface. Bell Gothic is a designed by in 1938 while heading the typographic development program at the.

Download Bell Gothic BlackTrueType font. Download 151,703 Free fonts at ufonts.com.

The typeface was by as a proprietary typeface for use in and has since been made available for general licensing. Bell Gothic is designed for maximum legibility in the adverse conditions of small print on poor-quality newsprint paper, into which ink tends to absorb and spread out. It is therefore a popular font in printing at small sizes. Bell Gothic was replaced by with 's typeface in 1978, the one hundredth anniversary of AT&T's founding.

Contents • • • • • Design [ ] Earlier in Griffith's career at Mergenthaler Linotype, he had developed a highly successful newspaper text face called, which overcame many of the limitations of printing smaller point sizes on low quality newsprint. This contributed to his addressing similar limitations of telephone book printing. Introducing Save Ferris Zip.

Bell Gothic was designed to be highly legible at small sizes, economical in its use of space (and hence paper), and reproduce well on uncoated, absorbent paper newsprint stock under less than optimal conditions. Griffith's face Bell Gothic is distinct for the cross bars on the uppercase I, the foot and cross bar on figure 1, and the angled terminus of the stroke on characters b, d, h, k, l, n, p, and q. While there are suggestions of an in several characters, they are minimal in comparison to the exaggerated ones found in Bell Centennial. Evolution of use [ ] Bell Gothic remained in uninterrupted use for AT&T telephone directories for forty years. Following AT&T's adoption of Bell Centennial, the Mergenthaler Linotype foundry licensed Bell Gothic for general use. Beginning in the early 1990s Bell Gothic became popular and associated with avant garde experimentation with type at places like the the in the Netherlands, and.

The typeface was used as a display and caption face by Metropolis magazine, by Canadian graphic designer in designing the initial ZONE book series, Dutch graphic designer, and has been widely used by Books, the, and. Revisions [ ] Along with Matthew Carter's 1978 Bell Centennial reworking, designed the Griffith Gothic typeface family for the in 1997. Condensed and italic variants were added, thus expanding the family in 2000. Isabella Chaeva produced a version of Bell Gothic for ParaType, based in,, in 1999. She added italics in Griffith's original style in 2009.

(For specimen showings and further information, see External Links.) References [ ] • Aldersey-Williams, Hugh, Katherine McCoy,, et al. Looking For An Answer Buscando Una Respuesta Rar. The New Cranbrook Design Discourse. Rizzoli: 1990.. • Blackwell, Lewis.

20th Century Type. Yale University Press: 2004.. • Fiedl, Frederich, Nicholas Ott and Bernard Stein. Typography: An Encyclopedic Survey of Type Design and Techniques Through History. Black Dog & Leventhal: 1998.. • Macmillan, Neil.

Manual Handling Equipment Nursing Homes. An A–Z of Type Designers. Yale University Press: 2006..