In this class you may only use the following typefaces (don't worry there are over 40 typefaces listed below). The reason for this restriction is threefold: 1. to avoid novelty typefaces at all costs. 2. to gain an understanding of typographic history 3. To realize that its up to you to make them work.

HERE IS A PDF OF EXAMPLES OF ALL OF THESE TYPEFACES

Old Style
(renaissance 15th and 16th centuries)
Garamond (1617) (v)
Caslon (1722)
Bembo (1495)
Janson (1690)
Palatino (1950)
Sabon (1964)
Centaur (1916)

Transitional
(baroque 17th century) (neo classical 18th century)
Baskerville (1757)
Times Roman (1931) (v)
Scotch (1810)
Electra (1935)
Bookman

Modern
(romantic 18th and 19th century)
Bodoni (1780) (v)
Didot (1784)
Walbaum (1800)

Egyptian/Slab
Century Schoolbook (1890) (v)
Clarendon (1845)
Cheltenham (1896)
Lubalin Graph (1974)
Melior

Sans Serif
(realist 19th and 20th centuries)(Geometric Modernist 20th century)
Helvetica (1957) (v)
Univers (1957)
Gill Sans (1928)
Futura (1927) (v)
Avant Garde (1967)
Optima
Bell Centennial (1978)
News Gothic (1908)
Folio
Franklin Gothic
Adzidenz Grotesk
Frutiger
Trade Gothic

Digital Typefaces
(Postmodern/Vernacular)
Interstate, Tobias Frere Jones, 1993-95 (Font Bureau)
Knockout, Tobias Frere Jones (Font Bureau)
Gotham, Tobias Frere Jones and Jesse Ragan, 2000-01 (HFJ)
Meta, Erik Spiekermann, 1984-991 (Font Shop)

(Classical/Historical Revival)
HTF Didot, Jonathan Hoefler, 1991 (Hoefler Type Foundry)
Galliard, Matthew Carter, 1978
Big Caslon, Matthew Carter, 1994
Mantinia, Matthew Carter, 1993

(Electronic Communications)
Retina, Tobias Frere Jones and Jonathan Hoefler, 2000
Mercury, Tobias Frere Jones and Jonathan Hoefler, 1999
Lo-Res, Zuzana Licko 1985 (Émigré)
Miller, Matthew Carter, 1997 (The Guardian)
FF DIN, Albert-Jan Pool, 1995 (Font Shop)

(v) - Massimo Vignelli list of “the only typefaces you need”