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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
{:NEED :} ||||||||||||||| to know: ||||||||||||||
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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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TYPE FACE ANA TOMY
3
7
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2
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110 100
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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
l l Bracket
ch an ge
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
SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIFSANS-SERIF SANS-SERIFSANS-SERIFSANS-SERIF
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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Bold Italic
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limousines
∞
Typeface
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CHAMPAGNE
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Hairline
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HairlineItalic
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ExtraLight
ClementePDa
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Extra Light Italic
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Light
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LightItalic
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Book
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BoldItalic
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Bold BoldItalic
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Heavy
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