R A F F I N E S S E
RAFFINESSE designed by Stefanie Andergassen
R A FF I N ES S E S A N S
large counter
Bowl, diagonal angle
X-HEIGHT
BASELINE
Thin stem
Open Counter
Small open Loop
Relatively short descender
12/14,5 pt W The more we communicate, the closer we become. Typography inspires us by reminding the world of a simpler time without connection. As designers and artists, we can carry that fascination into our work by studying the makeup of letters.
L E T TE R A NA TO M Y
soft thicker terminal
Slanted downwards angled terminal
Long ascender ASCENDER HEIGHT CAP HEIGHT
Slanted top terminal
Large aperture
DESCENDER HEIGHT
Slanted terminal
14/16,5 pt
16/19,5 pt
Attempts to standardize the measurement of type began in the eighteenth century. The point system is the standard used today.
One point equals 1/72 inch or .35 mm. Twelve points equal one pica, the unit commonly used to measure column widths.
Upper and lower case letters:
Aa Bb Cc Dd Ee Ff
Gg
Hh
Ii
Jj
Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz
R
RSD x A H O U
B C D E F I J K L M P Q R S V W X Y
G N T Z
a h o u
b c d e i j k l p q r v w x
g n t z
f m s y
TYPOGRAPHY TERMS 13,25°
long ascender stroke contrast low contrast
arm leg 45° strong angle soft, thicker terminal rounded terminal
FONT CHARACTERISTICS
C a E m X p B j 1.
2.
1. instroke
2. rounded stroke
1.
3. outstroke
2.
3.
3.
2. bar
2.
3. arm
1.
3.
2.
5.
4.
3.
2.
1.
2. bowl 3. outstroke
1.
1. upper arm
1.
1. diagonal terminal
1. first arch 2. second arch 3. ostem 4. middle stem 5. right stem
1. instroke
1. rounded stroke
2. rounded stroke
2. short descender,
3. outstroke
1.
diagonal outstroke
2.
1. upper counter
1.
2.
1.
2. upper bowl
3. lower counter
3.
4.
4. lower bowl
2.
3.
1. half dot 2. stem 3. diagonal outstroke
PANGRAMS A pangram, or holoalphabetic sentence, is a sentence that contains every letter of the alphabet at least once. The most famous pangram is probably the thirty-five-letter-long “The quick brown fox jumps over the lazy dog,� which has been used to test typing equipment since at least the late 1800s.
52 pt
11/14,5 pt
Jackdaws love my big sphinx of quartz. 40/48 pt
John quickly extemporized five 60/72 pt
Just imagine becoming the way you used to be, as a very young child, before you understood the meaning of any word before opinions took over your mind. The rea you is just like a flower, just like the wind just like the ocean, just like the sun. Just imagine becoming the way you used to be, as a very young child, before you understood the meaning of any word before opinions took over your mind. The real you is just like a flower, just like the wind, just like the ocean, just like the sun. Just imagine becoming the way you used to be, as a very young child, before you understood the meaning of any word before opinions took over your mind. The real you is just like a flower, just like the wind, just like the ocean, just like the sun. Just imagine
E
COLUMNS
34 pt
THE SETTING UP OF COLUMNS
16 pt
The setting up of columns is a key step in establishing the layout of a page or project containing running text. The number of columns, their alignment, and their location on the page can serve to create an effective typographic hierarchy, as well as contributing to readability and overall appeal.
12/14,5 pt When determining the number of columns to use, consider both the length of the copy and its role within the publication or piece. For brief settings, a single column can denote importancew and attract attention, as with an introduction, dedication, or letter.
9/10,5 pt When determining the number of columns to use, consider both the length of the copy and its role within the publication or piece. For brief settings, a single column can denote importance and attract attention, as with an introduction, dedication, or letter from the editor. Multiple columns are the best way to accommodate lengthy body copy. wmulti-column format also provides a grid for the insertion of illustrations and photographs.
14/16,5 pt
SPECIAL CHARACTERS:
@
&
50 pt
#
PUNCTUATION & MATHEMATICAL CHARACTERS:
.,:;!?“„ ` ´ ' «» _ () / \ {} [] * =+%-×÷~
53 pt
é
ó
ú
à
è
ò
ù
ö
ä
ü
á
é
ó
ú
à
è
ò
ù
ö
ä
ü
Á É Ó Ú À È Ò Ù Ö Ü Ä
20 pt
Á
10 pt
ÁÉÓÚÀÈÒÙÖÜÄ
30 pt
25 pt
UPPER CASE
20 pt
á
10 pt
á é ó ú à è ò ù ö ä ü
30 pt
25 pt
LOWER CASE
40 pt
DIACRITIC LETTERS
É
Ó
Ú
À
È
Ò
Ù
Ö
Ü
Ä
ò á ü èá è ü ùù Ö ü È ù
Ä èÁ ú
ò
ü
Ö
OLD STYLE FIGURES
30 pt
non-lining, antique numerals
18 pt
Numbers are a common element in text. They are used to indicate dates, times, addresses, measurements quantities, prices and other data. In typography, the symbols used to represent numbers are commonly referred to as figures or numerals. Oldstyle figures are one of two styles of numerals, the other being lining figures. Oldstyle figures have many uses in modern typography. Breaker Morant has been described as, „... a hard fisted bushman, a versifier, womaniser, drunkard, a brilliant horseman, social success, brave soldier, and a ruthless adversary ...“.1 It is the circumstances which led to his trial and execution, which most concern the average Australian. Morant and his fellow soldier have been viewed as „scapegoats of the Empire“.2 12/14,5 pt
Text figures (also known as lowercase, old style, ranging, hanging, medieval, billing, or antique figures or numerals) are numerals typeset with varying heights in a fashion that resembles a typical line of running text, hence the name. They are contrasted with lining figures (also called titling or modern figures), which are the same height as upper-case letters. 10/13,5 pt
123456789
ASCENDER HEIGHT CAP HEIGHT
X-HEIGHT
BASELINE
DESCENDER HEIGHT
Footnotes: 1. Kit Denton, Closed File (Adelaide: Rigby, 1983), 68. 2. Barry Bridges, „Lord Kitchener and the Morant/Handcock Executions“, Journal of the Australian Historical Society 73 (June 1987): 37.
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Faculty of Design and Art Free University of Bolzano - Bozen Typeface designed by Stefanie Andergassen WUP 18/19 Prof. Antonino Benincasa Gian Marco Favretto Maximilian Boiger Calligraphy Workshop by Mag. Art. Eva Pรถll Font created with Illustrator & Fontself