The end of the Line - Typography

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The end of the line

SANS The end of the line

SERIF

SANS The end of the line

The end of the line

By Angela Granados

MUCHhas been

written

about the evolution of Type:

How the forms of our LETTERS took shape,

roman capitals to the carolingian minuscules, from the

and how the

Latin alphabet

was

then, essentially, finalized for eternity by the first printing presses of the Renaissance.

Looking back from

where we stand now,

we could say that the original forms of our UPPERCASE LETTERS are around 2,000 years old, while those of our lowercase letters would be over 1,000

years old. And in the last 500 years, neither Case has changed in its basic forms. But what has constantly changed are the outlines of the LETTERS, influenced by new inventions in reproduction but also by the unique spirit of each epoch. 2

BEFORE [you start] there are some things that you

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SANS SERIF TEXT FONTS

ARE OFTEN USED FOR

INTRODUCTORY PARAGRAPHS, INCIDENTAL A current fashion is to pair sans-serif TYPE for headings with a high-performance seriffed FONTS of matching style for the text of an article.

Typography is modulated by orthography and linguistics, word structures, word frequencies, morphology, phonetic constructs and linguistic syntax. Typography is also subject to specific cultural conventions. 2

TEXT AND WHOLE

SHORT ARTICLES.

Y

Y

It is not a necessity for every designer to know and understand the perfect ANATOMY of a TYPEFACE but it is definitely advantageous to be informed.

Each TYPEFACE is made up of different elements that distinguish it from other TYPEFACES. 2

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THE ELEMENTS YOU SHOULD BE AWARE OF ARE:

A

Apex

Ascender

Arm

H

Barb

Ear

Cross bar

M

Cap height

Tail

Serif

N

Stem

Terminal

Baseline

j

f

X height

R

Leg

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At the dawn of the 19th century, the newly established Republic of France was still groping to come to terms with its new identity – and as widespread INDUSTRIALIZATION set in, an intrinsic mutation began to take place in all external appearances. The search for a new look

became a time-consuming quest eventually dragging into a decade-long struggle.

This can be observed in the ARCHITECTURE of the early 19th century: on the one hand, there was a mixture of

styles bor-

rowing from numerous past eras, on the other hand, there was a clear will to find a new form of expression, inspired by

the inventions of the time, like the railway and, later, the use of concrete as a building material.This confusion was also reflected in TYPOGRAPHY, which commonly applied an incongruous melange of all previous TYPEFACE

styles.

TYPEFACES come in different designs.

Some of these differences are subtle, while others stand out. On a broader sense, Typefaces are usually classified into two categories :

Sans Serif and Serif. These categories are not at all enough to support the deluge of typefaces that have been designed by many type designers.

Every line which does not close in on itself has a beginning and an end. If such a line does not

In order to better understand the transition from

have fortified endings, the ob-

typefaces with serifs to those without, it

server is left with the uneasy feel-

is necessary to consider the deeper impression left

ing that something is incomplete,

behind by the appearance of a line.

the line could flow on forever. 2

Since the invention of

sans serif typefaces over a century ago, many new stylistic forms have

already emerged.

In the following pages, we will attempt to explain

the formal transformations

which took place and provide a framework for

understanding the development of this new form of type.

Just as an example,

Fig. 1

Such fortification of line endings has given rise to ever changing STYLES of decoration for ages, attributing to the cross a UNIQUE symbolism each time (see Fig. 2).

let’s have a look at a cross – as not to be influenced by the accustomed appearance of a letter.

A cross without line endings

is primarily perceived as an abstract symbol with two converging lines in the middle. The length of the lines is undefined, the lines appear to be able to continue on forever. However, as soon as the lines are given graphic boundaries, the symbol is suddenly perceived as complete ENTITY (see Fig. 1).

Fig. 2

With respect to architectural developments, characters marked with Looking at the evolution of the

serifs

at their

endings could easily be compared with the

Latin alphabet, the first

columns of almost any

stroke endings can be found in the

In former times, a column was always deco-

chiseling of

Roman capitals.

In

calligraphy, the emphasis on the stroke beginning and ending is

stylistic period.

rated with a base at the bottom and a

cap-

ital at the top. It was not until the bir th of modernism that architects ventured to

naked column, made of

what characterized the stylistic ap-

introduce a

pearance of the text (see Fig. 3).

concrete. The fear that a line without boundaries might flow on forever gave way to a

Fig. 3

worldview defined by RATIONALITY – HERALDING the beginning of widespread use of

M

sans serif typefaces. 2 Perhaps these stroke endings also had something to do with an unconscious searching for as the lower

stability,

serifs

of incised

fonts actually seem to be “standing” on an invisible line.

Sans Serif Typeface

THE FOLLOWING IMAGE

the CLASSIFICATION most TYPEFACES. basic OF

GIVES A OVERVIEW OF

Serif

Minion Pro

Transitional Baskerville

Modern Bodoni

Sans Serif Script Myriad

Zapfino

Slab Serif Clarendon Light

Rockwell

DublinIrish

Medieval Victoriana No.1

Liquid Crystal

Teutonic No1

Dingbat (Symbols)

Mimicry (Simulation typefaces)

Adobe Jenson Pro

Decorative purposes

CJK (Foreign look)

From a type designer’s perpective, typefaces can be classified into 6 categories.

These are sometimes called “font families“. These are large groupings of typefaces based on generic classifications. They are: Serif, Sans-serif, Monospaced, Script, Display, Black letter and Dingbat. 2

COMES

FROM THE FRENCH

"WITHOUT"

MEANING

WORD SANS,

Help guiding the eye along the lines in large blocks of text.

Is one typeface that does not have the small projecting features called “serifs” at the end of strokes.

This new TYPEFACE caught on quickly and began to appear all over Europe and the U.S. under the names “Grotesque” and “Sans Serif”. Soon, bold and slender weights of this type could be found everywhere in newspaper headlines, on posters and brochures.

The “Grotesque” became the instrument of a new found factuality in search of a more poignant form of expression. In their basic forms, the sans serif lowercase letters remained quite similar to those in roman type, the vertical strokes retaining a greater thickness compared to the oblique transitions and joins. The CAPITAL LETTERS, on the other hand, were significantly altered: now all letters from A to Z had a similar width – previously narrow characters such as B, E, P and S were widened while letters like T, M and W were kept narrower. 2

This situation would

endure

for over 100 years.

It wasn’t until after

use of these

The new

World War II that sans serif fonts were to experience

typefaces was limited almost

a true renaissance and revolutionize the world of text publishing.

exclusively to typesetting

With the invention of the printing press, a

for

longing for formal refinement began to awaken.

First leaning on the bold and distinct typography of

titles and

headlines.

incunabula, styles gradually progressed to culminate in the decorative classical fonts of the 17th and 18th centuries.

In print, sans-serif fonts are used for headlines rather than for body text.The conventional wisdom holds that serifs help guide the eye along the lines in large blocks of TEXT. This growing preoccupation with ever greater refinement was also reflected in the architecture of the times, as well as in objects of daily use, especially furniture.

But also the fashionable attire worn by the upper classes of each epoch paid tribute to this development accordingly.

Sans-serif fonts have become the de facto standard for BODY TEXT on-screen, especially online. This is partly because interlaced displays may show twittering on the fine

serifs. Additionally, the low resolution of digital displays in general can make fine details like serifs disappear or appear too large.

details of the horizontal

Before the term “sans-serif� became standard in

English

TYPOGRAPHY, a number of other terms had been used. One of these outmoded terms for sans serif was gothic, which

The

body text

remained

is still used in East Asian TYPOGRAPHY and sometimes seen in font names like Century Gothic or Trade Gothic. Sans-serif fonts are sometimes, especially in older documents, used as a

intact, true to the classicformofromantype.

device for emphasis, due to their typically blacker TYPE color. 2

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SOME

TO REVAMP

GREAT

FONTS

YOUR INVENTORY

It

is essential for Designers to have a good understanding of TYPOGRAPHY and its

selection, as the importance of TYPOGRAPHY in design cannot be neglected. The right usage of TYPOGRAPHYcan convert your normal design into brilliant and attractive works of art. Effective TYPOGRAPHY achieve a lot of visual elements, look and feel of your designs.

The choice of a unique and beautiful TYPEFACE which manages to fulfil the above mentioned aspects can be quite cumbersome sometimes. Using the right TYPEFACES not only gives a logo/brand a distinct feel but also supports the corporate identity and enriches the visual appearance. However, usually there are simply too many options in front of you, which is why you need time to find the one you are most comfortable with. Although the choice usually depends on clients’ requirements, it is necessary to have some great ones to kick-start your work.

We have selected a few (sans) serif typefaces that you could find online. These are free to use so go ahead and download them. 2 ‘Free’ means free to use and distribute but the complete ownership of the fonts remain solely with the designer. So make sure you read the license agreements carefully before using them and distributing them as they are subject to change.

Champagne & Limousines Regular

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ClementePDa

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