His News Gothic (1908) was a lighter version of Franklin Gothic and 'preceded the employment of the sans serif typefaces in the United States.

5ДЄmong his original type designs were a number of sans serif designs including Franklin Gothic (1902), and Linotype Gothic (1908). (An idea possibly suggested by Robert Nelson). He gave form to the type family concept by creating complete ranges of fonts where there only existed one weight version. Appointed as head of type design Benton unified and improved the type library of ATF, (a merger of 23 type foundries).Д«enton, an extremely prolific designer, is credited with over 260 typefaces- many revivals as well as original faces. Benton (1872-1948) joined his father, Linn Boyd Benton, at the American Typefounders Federation in 1897. Even the great type designer Adrian Frutiger made slanted romans with his sans serif designs.' 3 Typefaces such as News Gothic (1908) and Helvetica all have slanted romans. 'The italic is nothing more than a slanted version of the roman.The strange thing is that this slanted roman became a sort of standard for sans italics, even today. The ground form or skeleton of both typefaces is almost identical.' This can be seen clearly when characters of Walbaum and Akzidenz Grotesk are superimposed upon each other. 'Theinhardt and all the unknown punch cutters would have been familiar with seriffed typefaces such as Walbaum and Didot. (BertholdвЂ™s specimen booklet referenced Akzidenz-Grotesk as Royal-Grotesk). The design originates from Royal Grotesk light by Ferdinand Theinhardt (1820-1909), a punch-cutter and type designer whose innovations laid the foundation for modernist sans serif typefaces. Sans Serifs Before WWII- Initially Based Upon Classical ProportionsД¬onsidered the original and most influential sans serif ' Accidenz-Grotes' was first released by the Berthold type foundry in 1896. It wasn't until after World War II that sans serif fonts were to experience a true renaissance and revolutionize the world of text publishing. This situation would endure for over 100 years. The body text remained true to the classic form of roman type. The use of these new typefaces was limited almost exclusively to typesetting for titles and headlines.

From a design point of view these typefaces have little value, but it is interesting to note their existence. Two years later, William Thorowgood was the first to design a lowercase with his Seven Line Grotesque (above), introducing at the same time the word 'Grotesque'. Vincent Figgins was the first to use the term sans serif when he designed Two-line Great Primer Sans-serif in 1832. In their basic forms, the sans serif lowercase letters remained quite similar to those in roman type, the vertical strokes retaining a greater thickness compared to the oblique transitions and joins. Soon, bold and slender weights of this type could be found everywhere in newspaper headlines, on posters and brochures. under the names ' Grotesque' and ' Sans Serif. This new typeface caught on quickly and began to appear all over Europe and the U.S. 'The first sans serif font to appear in a type sample book was by William Caslon IV in 1816. it suggested that this letter was the origin of all the san serifs of the 19th and 20th centuries, from the Caslon Egyptian of (about) 1816 to Futura, Univers and their descendents.' 1ДЇrom the Linotype essay by Adrian Frutiger. It is the earliest known example of the monoline sans serif inscriptional letter of Republican Rome that was revived at this date and became widely used for signs and typography.)

'In 1779 John Soane used san serif capitals on a drawing for a British Senate House that he was submitting to the Royal Academy in London in the hope of a prize. Mosley observes that architects used sans serif on building facades before the style emanated from the type foundry.

On his blog, Typefoundry, James Mosley publishes an extensive article on the earliest usage of the sans serif (or san serif) in the late 18th century. Some other names used for early sans serif included Egyptian, Grotesque, Gothic and Antique. At first the letters followed the Classical Roman Capitals proportions but later sans serifs were influenced by geometric and modernist trends. Type designers balanced the letters by using variable stroke weights (much as serif letters are balanced). But in reality it was the late 19th century when type designers deliberately decided to design faces that were without (sans) serifs. One could argue that the sans serif typeface existed as far back as ancient times-by their means of execution early chiseled faces were constructed from strokes with unadorned endings.

Bernhard gothic bold