Design
Earlier in Griffith's career at Mergenthaler Linotype, he had developed a highly successful newspaper text face called Excelsior (typeface) which overcame many of the limitations of printing smaller point sizes on low quality newsprint. This contributed to his addressing similar limitations of telephone book printing. Bell Gothic was designed to be highly legible at small sizes, economical in its use of space (and hence paper), and reproduce well on uncoated, absorbent paper newsprint stock under less than optimal conditions. Griffith's face Bell Gothic is distinct for the cross bars on the uppercase I, the foot and cross bar on figure 1, and the angled terminus of the stroke on characters b, d, h, k, l, n, p, and q. While there are suggestions of an ink trap in several characters, they are minimal in comparison to the exaggerated ones found in Bell Centennial.
Read more about this topic: Bell Gothic
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—Marilyn French (20th century)
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—Miguel De Cervantes (1547–1616)
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—Ralph Waldo Emerson (1803–1882)