We're counting down the 100 greatest typefaces in existence. Here's number 100...
FontShop AG, the renowned type foundry, conducted a survey based on historical relevance, sales at FontShop.com, and aesthetic quality. With a few additions from the experts at Creative Bloq and Computer Arts magazine, the best fonts ever were selected for the new book, 100 Best Typefaces Ever.
Here we count down the 100 greatest fonts - but you can read interviews with some of the typefaces' creators, a brief history of type, the anatomy of a font, and much, much more in the book - find out how to get your copy in print or digital formats at the foot of this post.
But without further ado, here's the 100th best typeface ever...
This may be a controversial start to list, but Eurostile is in here for its sheer ubiquity. Yes it's a little baggy and often hard to set, but it is – or was at least – everywhere. Designed by Italian type designer Adlo Novarese in 1962 for the Nebiolo foundry, the bold, modern nature of the typeface has made it a favourite in the world of science fiction movies (2001: A Space Odyssey being a good example).
Eurostile has also featured in consumer electronics, album covers from artists including The Police, U2, and Eminem, and on the cover of 'A Clockwork Orange', with artwork by David Pelham, as seen here.
Eurostile has been used for many products – including the front cover of books – such as this copy of Anthony Burgess’ cult classic 'A Clockwork Orange'
The 100 Best Typefaces Ever
This is an extract from The 100 Best Typefaces Ever, the definitive guide to the greatest fonts ever created, in association with FontShop AG. Over 180 premium pages, the book dissects the world's greatest typefaces, bringing you some insightful background on each and interviews with their creators.
You can pick up the book at all good newsagents today or order it online. Or you can download a digital edition directly to your iPad from the Computer Arts app on iTunes.
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Rob is editorial, graphic design and publishing lead at Transport for London. He previously worked at Future Publishing over the course of several years, where he launched digital art magazine, ImagineFX; and edited graphic design magazine Computer Arts, as well as the Computer Arts Projects series, and was also editor of technology magazine, T3.
