This is reflected by the type of influential companies that use it: Toyota, Target, BMW, General Motors and American Apparel. Helvetica has a straight, even and machined look to it, an aesthetic that makes it neutral and adaptable for many different purposes. The ubiquity of Helvetica in graphic design is well known and understandable as a clean, simple and enduring typeface, it’s always a safe choice. For better or for worse, everyone still loves Helvetica After looking at the corporate styling guides for many of the companies on Forbes’ list of the world’s most powerful brands, several trends became apparent. Because of this, big brands are extremely particular about their typography choices and smaller brands can learn a lot from studying their visual decision making. p. 108.The fonts you choose for both your logo and your content can say a lot about your brand. Panegyrical, Satyrical, Amorous, Moral, Humorous, Monumental. The Festoon: A Collection of Epigrams, Ancient and Modern. Unearthing the Past: Archaeology and Aesthetics in the Making of Renaissance Culture. Circa 1492: Art in the Age of Exploration. Levenson National Gallery of Art (U.S.) (1991). German Paintings in the Metropolitan Museum of Art, 1350-1600. The Cabinet of Eros: Renaissance Mythological Painting and the Studiolo of Isabella D'Este. Fifty Typefaces That Changed the World: Design Museum Fifty. London: Friends of the St Bride Printing Library. The Nymph and the Grot: the Revival of the Sanserif Letter. ^ "New look National Trust magazine rolls out".^ National Trust Brand Standards (PDF).Nymph of the Grot, these sacred springs I keepĪh spare my slumbers, gently tread the caveĪnd drink in silence, or in silence lave. The motif of a sleeping nymph besides a fountain was popular with Renaissance humanists and influential among neoclassical garden designers, but is now generally suspected to be a fifteenth-century forgery. The four line poem, translated into English from Latin by Alexander Pope, was attributed to an inscription on a legendary Roman fountain with a statue of a sleeping nymph above the River Danube. Other typefaces in this style include Optima (inspired by medieval inscriptions from Florence), Britannic and Radiant. īeing based on the Stourhead inscription makes National Trust a "stressed" or "modulated" sans-serif, with a clear difference between horizontal and vertical stroke widths. As the inscription was destroyed by mistake in 1967, it had to be replicated from Mosley's photographs. Mosley has concluded that he cannot be certain of the source of the style and that it does not seem to have influenced successors, but that its unusual, simplified structure may be an "exercise in rusticity" related to the spirit of the construction, intended to imitate a natural cave. The unusual style of the inscription came to the attention of historians, most famously James Mosley, whose work The Nymph and the Grot on early sans-serif lettering is named after it. The inscription on which the font is based is an epigram, The Nymph of the Spring, in the grotto beside the lake where a statue of a nymph sleeps, and is in a mostly sans-serif style, one of the first such uses of the style since classical antiquity. National Trust is based on an inscription dated around 1748 on the Stourhead estate, part-owned by the National Trust since 1946. The replica Stourhead inscription with its four-line epigram.
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