Classic Grotesque™ font family
Designed by Rod McDonald in 2012
be installed on a computer for
use with applications.
Licensed per computer.
@font-face rule. They are licensed
for a set number of page views with
no time limitation.
in your mobile application. Each app
and platform requires a separate license.
embedded in an eBook, eMagazine or
eNewspaper. Fonts are licensed per title.
a server and e.g. used by automated
processes to create items.
A license is per server core CPU per year.
on which the font will be installed.
that you can use over time. We’ll let
you know when you’re running low.
Platforms you intend to embed the
font in. A license is valid for the life
of the version of the app.
you intend to embed the font in. Each license
is valid for one title for the life of that title.
CPUs of the servers on which
the font will be installed.
A license has a term of 1 year.
the font: OT (OpenType) with
Postscript outlines (OT CFF) or
TrueType outlines (OT TTF).
the font: W1G (98 languages),
COM (56 languages),
PRO (33 languages) or
STD (21 languages).
available in. These differ in contained
characters and file size. You get all
available versions with your license.
Typecast is a web-based tool to create visual
and semantic designs. Check for readability,
rendering and beauty then share a working
prototype of your design.
Tip: Add fonts to your Favorites, then test your custom selection in Typecast!
Classic Grotesque by Rod McDonald:
a traditional font with a modern face
An update of Monotype Grotesque that was first published in 1926, Rod McDonald’s Classic Grotesque combines both traditional and contemporary elements of typography. With its many fascinating details, Classic Grotesque is at home in print and web designs.
The design process lasted four years, with regular interruptions due to the need to complete projects for other clients. In retrospect, McDonald admits that he had no idea at the beginning of just how challenging and complex a task it would be to create Classic Grotesque™. It took him considerable time before he found the right approach. In his initial drafts, he tried to develop Monotype Grotesque only to find that the result was almost identical with Arial®, a typeface that is also derived in many respects from Monotype Grotesque. It was only when he went back a stage, and incorporated elements of Bauer Font’s Venus™ and Ideal Grotesk by the H. Berthold AG into the design process, that he found the way forward. Both these typefaces had served as the original inspiration for Monotype Grotesque.
Specimen booklets of Venus and Ideal Grotesk
The name says it all: Classic Grotesque has all the attributes of the early grotesque fonts of the 20th century: The slightly artificial nature gives the characters a formal appearance. There are very few and only minor variations in line width. The tittles of the ‘i’ and ‘j’, the umlaut diacritic and other diacritic marks are rectangular. Interestingly, it is among the uppercase letters that certain variations from the standard pattern can be found, and it is these that enliven the typeface. Hence the horizontal bars of the “E”, “F” and “L” have bevelled terminals. The chamfered terminal of the bow of the “J” has a particular flamboyance, while the slightly curved descender of the “Q” provides for additional dynamism. The character alternatives available through the OpenType option provide the designer with a wealth of opportunities. These include a closed “a”, a double-counter “g” and an “e” in which the transverse bar deviates slightly from the horizontal.
The glyph set of Classic Grotesque leaves nothing to be desired. It includes ligatures, broken variants, oldstyle and lining figures for setting proportional text and table columns, and even small caps, ensuring that it can be used in almost all contexts. In its Pro version, Classic Grotesque not only supports all western European but also most central European and many eastern European languages.
The seven different weights also extend the scope of uses of Classic Grotesque. These range from the delicate Light to the super thick Extrabold. There are genuine italic versions of each weight; these are not only slightly narrower than their counterparts, but also have variant shapes. The “a” is closed, the “f” has a semi-descender while the “e” is rounded.
Its neutral appearance and excellent features mean that Classic Grotesque is suitable for use in nearly all imaginable applications. Even during the design phase, McDonald used his new font to set books and in promotional projects. However, he would be pleased to learn of possible applications that he himself has not yet considered. Classic Grotesque, which has its own individual character despite its neutral and restrained appearance, is the ideal partner for your print and web project.