Typography Essentials: The Bare Bones of Typographic Treatment
Project design by CJ Miller based on
Designing with Type 5th Edition by
James Craig
TABLE OF CONTENTS Section 1: Anatomy of Type
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Typographic Terminology
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15 Type Classifications
Hand Made
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Serifs
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Slab Serifs
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Sans Serifs
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Section 2: Setting Type Do & Don’t
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Standard Type Sizes
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Line Length, Widows, & Orphans
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Tracking, Leading, & Kerning
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Peregraph Alignment
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Section 3: Type Designers
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The Father of Modern Type
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Contemporary POC Type Designer
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Contemporary Female Type Designer
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Section 4: Portfolio of Projects
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Five Classic Typefaces
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Type Arrangements
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Grids
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Anatomy of Type & Classifications
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Historical Event Poster
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Ransom Note Collage
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Typographic Terminology Apex
Horizontal Stroke Apex: The tallest point at which two strokes meet. Bracket: A curved or diagonal transition between a serif and main stroke. Bowl: A semi-circular line that meets a stroke at both ends. Cursive: A style associated with handwriting, typified by slanted stems with curved tails.
A BN
Bowl
Bracket Character: The basic unit of written language. Can be a letter, a number, a punctuation mark, or another symbol. Glyph: The graphical representation of a character. A font can contain several glyphs for each letter—a lowercase ‘a’ and small cap ‘A’ for example—and can also have alternate forms, such as single—and double—story ‘a’s or an ‘a’ with a swash tail. In this way, a single character can be represented by different glyphs.
Serif
Diagonal Stroke Sans Serif: A character or typeface without serifs. Serif: A small mark or foot at the end of a stroke. Serifs are lighter than their associated strokes. Slab Serif: A heavy serif, typically rectangular in shape, with a blunt end. It is also a typeface classification. Stroke: An essential line or structural element of a glyph. The term derives from the stroke of a pen.
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Typographic Terminology
Spine
Arm
Eye
Hook Counter Terminal Ear
Spur
Aperture: The opening of a counter to the exterior of a glyph. Counter: Any interior shape of a glyph. It can be completely enclosed by strokes, such as the eye of an ‘e,’ or have an opening to the exterior, such as the lower counter of an ‘e.’ Font: A collection of glyphs. The font is the delivery mechanism, represented by a digital file or a set of metal pieces, for a typeface.
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Leg
Aperture
Loop
Ligature: A single glyph made of multiple characters. The most common examples are functional (Standard), such as ‘fi,’ which is designed to resolve excessive spacing or an unpleasant overlap of two letters. There are also ornamental (discretionary) ligatures, such as ‘st.’ that are primarily a stylistic option.
fi
Link
Bowl
Tail
Typeface: The design of a set of characters. In simple terms, the typeface is what you see and the font is what you use. Substrate: The surface material on which type appears. For hundreds of years, type was printed on paper. Now it is increasingly rendered on the digital screens of desktop computers, tablets, and mobile phones.
Horizontal Stroke
Stroke Contrast
Ascender Cap Height X height
Baseline Vertical Stroke
Foundry: A company that designs, manufactures, and/or distributes fonts. Humanist: A method of letter construction tied to handwritten strokes made with a pen or brush. Rational: A method of letter construction using shapes that are drawn as opposed to written. Stroke Contrast: The weight difference between light and heavy strokes.
Tail
Descender
Style: A stylistic member (e.g. bold, italic, condensed) of a typeface family, typically represented by a separate font.
Swash: The extension of a stroke or prominent ornamental addition to a glyph, typically used for decorative purposes.
Substrate: The surface material on which type appears. For hundreds of years, type was printed on paper. Now it is increasingly rendered on the digital screens of desktop computers, tablets, and mobile phones.
A
Weight: The thickness of a stroke. In type design, the geometry of a line (or shape) is usually described using the terminology of weight.
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Typographic Classifications
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Typographic Classifications: Hand Made
Enscribed/Ingraved
Script
Rga
Rga 6
Humanist Serif
Rga
The first roman typefaces following centuries of handwritten forms. Humanist serifs have close ties to calligraphy. An oblique stress, gradually modulating from thick to thin, shows evidence of a pen held at a consistent angle. That angle is often echoed in letters topped with calligraphic terminals and finished with asymmetrical serifs that gently transition from the stem.
Transitional Serif
Rga
As we move further away from type’s calligraphic roots, contrast increases and the stress axis turns more upright and variable within each typeface rather than staying consistent as it does in the Humanist serifs. Letters in these typefaces are more regular in shape and proportion and apertures are slightly smaller. Transitional serifs still have a gradual, bracketed transition from the stem, and terminals are often bulbous.
Typographic Classifications: Serifs
Rational Serif
Rga
Contemporary Serif
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Rga
At the opposite end of the spectrum from the Humanists. Rational serifs have a strong, vertical contrast between thick vertical stems and fine horizontal hairlines. Because these typefaces are not so much written as constructed, their letterforms are very even in proportion and structure. Serifs are generally symmetrical, and can be bracketed, like Melior and Miller, or thin and abrupt, like the Didones (Bodoni and Didot).
In the last forty years, type designers have borrowed the most pragmatic aspects of the previous styles to develop a new breed of highly functional Text faces, designed to solve the problems of various substrates and reading environments. These designs generally sport a much larger x-height and lower stroke contrast than traditional serif typefaces, but are otherwise not directly related. They range from the spatially economical Swift to the informal and energetic Doko.
Typographic Classifications: Slab Serifs
Grotesque Slab
Rga
If one were to weigh the typical example of each classification, these bulky beasts would tip the scale furthest. Although they aren’t simply Grotesque sans serifs with slab serifs slapped on, these typefaces reflect the proportions, structure, and stroke contrast of their serif-less counterparts. Ball terminals are common among Grotesque slabs, as are heavy bracketed serifs and closed apertures.
Geometric Slab
Rga
These slab serifs share the geometrically round or square shapes of their sans counterparts. Rectangular serifs are unbracketed and generally the same weight as the sterns. In fact, all strokes are essentially of the same weight, lacking any perceptible contrast. The ‘R’ leg is a straight diagonal and ‘g’ is normally of the monocular form.
Humanist Slab
Rga
Put simply, you could take a Humanist sans serif and add unbracketed, rectangular serifs and get pretty close to a Humanist slab. These typefaces often have less stroke contrast than their sans counterparts, and the serifs are sometimes wedge shaped.
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G
Typographic Classifications: Sans Serifs
Ne o - G r o t e s q
ns
Rga
ue
ns Sa
Rga
Neo-Grotesques (Neo-Grotesk in German-� speaking parts of Europe) are even more rationalised extensions of the Grotesque style. These typefaces, pioneered by Helvetica and Univers, have very little stroke contrast, horizontal terminals and quite closed apertures. Their homogenized forms are graphically appealing at large sizes, so they often fare better in Display settings.
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Sa e u sq
Rga
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Standard Type Sizes
72 point type 60 point type 48 point type 42 point type 36 point type 30 point type 24 point type 20 point type 18 point type 16 point type 14 point type 12 point type 10 point type 9 point type 8 point type 6 point type
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Line Length
DON’T. Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum. Readers will struggle with focus and comprehension when the line is too long.
DO. Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum.
A shorter line moves the eye along the text much more smoothly.
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Widows & Orphans
No widow. No problem.
DO.
This is a widow.
DON’T.
Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolor magna aliqua.
Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua.
No orphans makes for happy type.
Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore aliqua.
Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip
DO. This is an orphan.
DON’T. Lorem ipsum dolor sit amet, consectetur elit, sed do eiusmod tempor incididunt ut labore et dolore
aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex
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Leading Linespacing, or leading, like wordspacing and letterspacing, can be used to improve readability. Your choice of typeface, type size, line length, and copy will all affet the amount of linespacing. With so many factors involved, you can see why proper linespacing is more a matter of visual judgement than of mathematics.
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Linespacing, or leading, like wordspacing and letterspacing, can be used to improve readability. Your choice of typeface, type size, line length, and copy will all affet the amount of linespacing. With so many factors involved, you can see why proper linespacing is more a matter of visual judgement than of mathematics.
Tracking & Kerning
Auto Kerning Hand Kerning Poor Kerning
Letterspacing and wordspacing can drastically affect readabiity, the number of characters per line, and the “color” of the setting of text.
Letterspacing and wordspacing can drastically affect readabiity, the number of characters per line, and the “color” of the setting of text.
Letterspacing and wordspacing can drastically affect r e a d a b i i t y, t h e number of characters per line, and the “color” of the setting of text.
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Alignment: Left & Center
LEFT
Lor e isci m ips u ng elit m do ut l , lo a a d b o r e sed do r sit a et d min eiu met, ulla im o sm co l o v m r c o m c o l a e n i a m e m a od tem nsecte g b d o l m o d o o r i s n , q u i s n a a l i por i n tur ad q o ip c n ess r in re c o n s e i s i u t a o s t r u u a . U i d i d u n t d ec q p liqu t eni ua reh ex il Exc ept lum d ende t. Duis ip ex ercita m e o tion pro e r ide ur sin lore e it in v aute i a o n des t ru u eru t, sunt occae fugia luptat re e tn nt m ca in v olli culpa t cupi ulla p elit t an d a im qui offi atat n riatur. id e o n st l cia abo rum .
CENTER r nsectetu o c t, e m r sit a or sum dolo od temp ip m s m iu e e r o o L dd a g elit, se re magn lo o d t e adipiscin e quis t ut labor veniam, im incididun in m d isi t enim a laboris n o c m a ll aliqua. U on u at. exercitati consequ o d o m nostrud m rit in ex ea co rehende p e r ut aliquip in t r irure dolo m dolore eu fugia te u a is u D cillu t velit esse teur sint occaeca te ta p lu vo ep a qui iatur. Exc nt in culp u s t, nulla par n . e on proid t laborum n s t e ta id a id im cup llit an erunt mo s e d ia c offi
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Alignment: Right & Justified
RIGHT Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum.
JUSTIFIED Lore m iscin ipsum do g lor si t u t l a elit, sed do e amet, co bore iusm ad m et d od te nsectetur olore inim mpo ullam v m r i n c a d i pco la e n i a m , q a g n a a l ididu iq b u cons equa oris nisi u i s nostru u a . U t e n t t. ni d ta derit in vo Duis aute liquip ex exercita m ti lu fugia e t nul ptate ve irure dolo a comm on l o a l cupid r it es paria se ci in repre d o a henllum cia d tat non p tur. Exce d p eser unt m roident, s teur sint olore eu un ollit a o nim i t in culpa ccaecat d es qui t lab orum offi.
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THE FATHER OF MODERN TYPE Bodoni is a Modern typeface, designed in the late 1700s by the Italian typographer Giambattista Bodoni. At the end of the eighteenth century, a fashion grew for faces with a stronger contrast between the thicks and thins, unbracketed serifs, and a strong vertical stre ss. The se wer e call ed Mod ern type face s. All the older faces became known as Old Styl e, whi le the mor e recent faces just prior to the changes were referred to as Transitional. Although Bodoni has a small x-height, it appears very wide and black. Because of the stro ng vert ical stre ss, accentuated by its heavy thicks and hairline thins, Bodoni should be well leaded.
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Contemporary POC Designer Toshi Omagari is a Japanese designer currently located and working out of London. He graduated from Musashino Art University of Tokyo in 2008. He has since designed many typefaces, using his multilingual capabilities to create type designs for Greek, Cyrillic, Arabic, Tibetan, and other languages. His personal favorite, Platia, is displayed below. It is a wide “Hellenic” typeface that was released in 2021 through his independent foundry, Omega Type Foundry. Omagari also works for Monotype UK where he has been able to help develop many more typefaces. More of his work can be found through his website at toshe.net/fonts.
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Contemporary Female Designer
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5 ClaSSic TYpeFaces
Bodoni BODONI Bodoni is a Modern typeface, designed in the late 1700s by the Italian typographer Giambattista Bodoni. At the end of the eighteenth century, a fashion grew for faces with a stronger contrast between the thicks and thins, unbracketed serifs, and a strong vertical stress. These were called Modern typefaces. All the older faces became known as Old Style, while the more recent faces just prior to the changes were referred to as Transitional. Although Bodoni has a small x-height, it appears very wide and black. Because of the strong vertical stress, accentuated by its heavy thicks and hairline thins, Bodoni should be well leaded.
This first project is an opportunity to experiment with letterspacing, wordspacing, linespacing, and to learn how these choices affect readability. We will be setting type with five classic typefaces. The first four of them are available to activate on your Creative Cloud account via Adobe Fonts. Helvetica is a system default font for macOS. If you are using a Windows machine, you’ll need to substitute Arial.
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2: TYPe ArrangmenTs
Centur y , the first major American typeface, was designed in 1894 by Linn Boyd Benton for Theodore Lowe DeV inne, the printer of The Centur y Magazine. After Bodoni, type designers began to search for new forms of typographic expression. Around 1815 a type style appeared that was characterized by thick slab serifs and thick main strokes with little contrast between the thicks and thins. This style was called Egyptian.
Centur y Expanded is an excellent example of a refined Egyptian, or slab serif, typeface. The large x-height and simple forms combine to make this a ver y legible typeface.
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, ty un the first major American pe d fa typeface, was designed in 1894 by g an ce s Linn Boyd Benton for Theodore Lowe DeVinne, the printer of The Centur y Magazine. After Bodoni, type designers began to search for new forms of typographic expression. Around 1815 a type style appeared that was characterized by thick slab serifs and thick main strokes with little contrast between the thicks and thins. This style was called Egyptian. Centur y Expanded is an excellent example of a refined Egyptian, or slab serif, typeface. The large x-height and simple forms combine to make this a ver y legible typeface. Centur y, the first major American typeface, was designed in 1894 by Linn Boyd Benton for Theodore Lowe DeVinne, the printer of The Centur y Magazine. After Bodoni, type designers began to search for new forms of typographic expression. Around 1815 a type style appeared that was characterized by thick slab serifs and thick main strokes with little contrast between the thicks and thins. This style was called Egyptian. Centur y Expanded is an excellent example of a refined Egyptian, or slab serif, typeface. The large x-height and simple forms combine to make this a ver y legible typeface. Centur y, the first major American typeface, was designed in 1894 by Linn Boyd Benton for Theodore Lowe DeVinne, the printer of The Centur y Magazine. After Bodoni, type designers began to search for new forms of typographic expression. Around 1815 a type style appeared that was characterized by thick slab serifs and thick main strokes with little contrast between the thicks and thins. This style was called Egyptian. Centur y Expanded is an excellent example of a refined Egyptian, or slab serif, typeface. The large x-height and simple forms combine to make this a ver y legible typeface.
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Now that we’ve done some basic typesetting in InDesign, it’s time to explore further and have a little fun. We will experiment with various ways of setting type. We’ll look at different justification settings, dos and don’ts, and then practice hand setting the rags in type. Play, Play, Play. Explore, Explore, Explore.
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3: Grids
So far we have been exploring typesetting in a fairly loose context. Now it is time to ad project, we will: Establish a grid layout in InDesign using the Create Guides command, Set u Create and apply paragraph styles, Explore flowing body text through multiple and experiment with different approaches to the grid. We’ll be staying in black and white only. Our textbook specifies a spread of two 10” x
GRAPHIC
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dd some structure. In this
up facing master pages, e columns, Place images 10” pages.
The most significant event of the century—and one that dramatically affected the course of history—was Johannes Gutenberg’s invention of printing from individual pieces of cast type. The success of Gutenberg’s press was phenomenal. It is estimated that by the end of the century more than a thousand printing shops were operating in more than two hundred centers, and that 40,000 editions, or 10 to 20 million books, had been printed—a total that represents more books than had ever been produced before Gutenberg’s time.
PRINTING IN GERMANY Johannes Gutenberg was born in Mainz, Germany, some time around 1397. Little is know about his early years, but it is clear that he was the right man, in the right place at the right time. Gutenberg was the right man because of his familiarity with the craft of the goldsmith and the diemaker. He was in the right place because Mainz was a cultural and commercial center. It was the right time because the Renaissance thirst for knowledge was creating a growing market for books that could not be satisfied with the traditional handwritten manuscripts. Handwritten manuscripts were made to order and were usually expensive. They were laboriously copied by scribes who had either to read from a manuscript or have it read to them while copying. This process was not only time-consuming, but led to many errors, which had corrected. Adding to the expense was the scarcity and high cost of vellum and parchment. As a result, handwritten manuscripts were limited to a select few: clergymen, scholars, and wealthy individuals. A relatively inexpensive means of producing multiple copies of books seems to have been developed just a little before Gutenberg began his experiments with printing. This was the so called block book whose pages had illustrations and minimal text cut together on the same block. The carved blocks were inked, and images were
ARTS 30
4: ANATOmY OF TYpe & ClaSSificaTiOns
Apex
Bowl
Serif
T Crossbar
Spine
Arm
Spur
Horizontal stroke
Eye
Leg
Stroke contrast
Eye
Aperture
Counter
Ear
Loop
Link
Terminal
Bowl
Tail
Ascender Cap height Glyph width
Stre
X height
ss
The best way to learn what designers call the parts of letters is to use them, and the same goes for typeface classifications. Vocabulary can vary among designers and change over time, and also there is no “official” classification system. We will use the vocabulary and the fifteen classifications from The Anatomy of Type. For Project 4 we will design a similar kind of poster using content from The Anatomy of Type. The size of the poster is 36 x 24 inches (landscape), in limited color.
Diagonal stroke
Bracket
Baseline
Vertical
Tail
Descender
Glossary of Typographic Terminology Aperture: The opening of a counter to the exterior of a glyph.
Rational: A method of letter construction using shapes that are drawn as opposed to written.
Bracket: A curved or diagonal transition between a serif and main stroke.
Sans serif: A character or typeface without serifs.
Character: The basic unit of written language. Can be a letter, a number, a punctuation mark, or another symbol.
Serif: A small mark or foot at the end of a stroke. Serifs are lighter than their associated strokes.
Counter: Any interior shape of a glyph. It can be completely enclosed by strokes, such as the eye of an ‘e,’ or have an opening to the exterior, such as the lower counter of an ‘e.’ Cursive: A style associated with handwriting, typified by slanted stems with curved tails. Font: A collection of glyphs. The font is the delivery mechanism, represented by a digital file or a set of metal pieces, for a typeface. Foundry: A company that designs, manufactures, and/or distributes fonts. Glyph: The graphical representation of a character. A font can contain several glyphs for each letter—a lowercase ‘a’ and small cap ‘A’ for example—and can also have alternate forms, such as single—and double—story ‘a’s or an ‘a’ with a swash tail. In this way, a single character can be represented by different glyphs. Humanist: A method of letter construction tied to handwritten strokes made with a pen or brush. Ligature: A single glyph made of multiple characters. The most common examples are functional (Standard), such as ‘fi,’ which is designed to resolve excessive spacing or an unpleasant overlap of two letters. There are also ornamental (discretionary) ligatures, such as ‘st.’ that are primarily a stylistic option.
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Slab serif: A heavy serif, typically rectangular in shape, with a blunt end. It is also a typeface classification. Stroke: An essential line or structural element of a glyph. The term derives from the stroke of a pen. Stroke contrast: The weight difference between light and heavy strokes. Style: A stylistic member (e.g. bold, italic, condensed) of a typeface family, typically represented by a separate font. Substrate: The surface material on which type appears. For hundreds of years, type was printed on paper. Now it is increasingly rendered on the digital screens of desktop computers, tablets, and mobile phones. Swash: The extension of a stroke or prominent ornamental addition to a glyph, typically used for decorative purposes. Typeface: The design of a set of characters. In simple terms, the typeface is what you see and the font is what you use. Weight: The thickness of a stroke. In type design, the geometry of a line (or shape) is usually described using the terminology of weight.
The Anatomy of Typography Adapted from The Anatomy of Type by Stephen Coles
The most static and clinical of all the classifications. Geometric sans serifs are constructed out of geometric forms with round parts that are circular or square. It’s important to note that, while shapes like the ‘o’ appear to be exactly round, most proper typefaces do not contain perfect circles, but are optically corrected to appear as round as possible while harmonious with other letters. Geometrics have minimal stroke contrast, and italics are commonly slanted versions of the romans rather than cursive in form.
Typeface shown: Poppins
Rga Narrow ‘R’ from classical capital proportions
Minimal contrast
Humanist Sans
Geometric Sans
ART222 Introduction to Typography, Spring 2022
Round shapes are nearly circular
Like their serif counterparts, Humanist sans serifs have roots in calligraphy. Their round, dynamic, open forms have higher stroke contrast than the other sans serif classifications (though not as much as most serifs). These typefaces sometimes share the binocular ‘g’ and variable letter widths of their serif sisters. Their italics are true italics with cursive forms of ‘a,’ ‘g,’ ‘e,’ and sometimes a descending ‘f.’
Rga Calligraphic strokes and forms
Low to moderate contrast
Open apertures
Single-story ‘a’ is common
Curves made of semi-circles
Rational Serif
Typeface shown: Costa Std
Typeface shown: LTC Bodoni 175 Pro
At the opposite end of the spectrum from the Humanists. Rational serifs have a strong, vertical contrast between thick vertical stems and fine horizontal hairlines. Because these typefaces are not so much written as constructed, their letterforms are very even in proportion and structure. Serifs are generally symmetrical, and can be bracketed, like Melior and Miller, or thin and abrupt, like the Didones (Bodoni and Didot).
Rga Curved leg
Moderate to high contrast, vertical stress
Ball terminals
Turned tail
Typeface shown: Garamond
Traditionally, a script typeface emulates handwriting, whether its letters are a graceful, connected cursive or the staccato scribbles of a daily shopping list. Besides formal and informal categories. scripts can also be sorted by the writing tool, such as pen or brush. Script fonts have become increasingly sophisticated in recent years thanks to technical developments like OpenType. Discretionary ligatures and contextual alternatives yield a more convincing emulation of real handwriting and offer a variety of decorative options.
Rga
Most scripts are slanted. Slant can vary throughout. Formal slants tend to have consistent angles
Grotesque Slab
Script
Thin, unbracketed serifs
Typeface shown: Pulpo
If one were to weigh the typical example of each classification, these bulky beasts would tip the scale furthest. Although they aren’t simply Grotesque sans serifs with slab serifs slapped on, these typefaces reflect the proportions, structure, and stroke contrast of their serif-less counterparts. Ball terminals are common among Grotesque slabs, as are heavy bracketed serifs and closed apertures.
Rga Upturned tails
Moderate contrast, vertical stress
Ball terminals
Bracketed serifs
Just like the human body, the Latin alphabet can take on a surprising range of shapes and proportions. These varieties can come from diverging historical paths, differences in language or culture, or simply the tool used to make the letters—whether it’s a pen, a chisel, or a compass. CJ Miller
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5: hiSTOricAl EvenT POsTer
CHANGED
OUT OF RESPECT FOR ALASKAN ATHABASCAN TRIBES THAT HAVE RESIDED ON THE MOUNTAIN FOR CENTURIES,
PRESIDENT BARACK OBAMA AND SECRETARY OF THE INTERIOR SALLY JEWEL
LEGALLY
MT.
33
DECLARED
MCKINLEY
THE
TO
PREVIOUSLY
MT.
NAMED
DENALI
AUGUST 30TH, 2015
CHANGED Now it’s time to have some fun and get expressive with type. We’ve been working with the poster format, so we’ll keep the same size but go portrait (tall): a 24” x 36” document. Use Adobe Illustrator for this project.
THE RULES Pick a notable event in United States history. Don’t pick something obvious, pick something that means something to you, personally. Could be local, regional, national. Just has to have been notable, like in the news. Write a statement (this can be a statement of the date and the event, or even something longer) saying what the event was and why it’s important. Design a poster using only typography to express your design. Full color. You can use any glyph of any Adobe Fonts or Font Squirrel typefaces. Hand lettering is acceptable if it works for your design intention.
Design is about impact.
OUT OF RESPECT FOR ALASKAN ATHABASCAN TRIBES THAT HAVE RESIDED ON THE MOUNTAIN FOR CENTURIES,
PRESIDENT BARACK OBAMA AND SECRETARY OF THE INTERIOR SALLY JEWEL
LEGALLY
MT.
DECLARED
MCKINLEY
THE
TO
PREVIOUSLY
MT.
NAMED
DENALI
AUGUST 30TH, 2015
34
6: RanSom nOTe CollAge
35
Time to get even more expressive! This is our last chance to really shake things up before settling in to the final project for this course. We’re setting Illustrator and InDesign aside for this one. This is Photoshop only. All the type you use must be found and collaged, either scanned in, from your own photos, or from pics online. You cannot use the Type ( T ) tool at all. The “Ransom Note” is a trope used in fiction, but also has basis in historical kidnappings. Both movie villains and real life villains have made random notes in an effort to conceal the sender’s identity and location. In the digital age, this technique is largely obsolete. People use encryption now to cover their tracks. But the old school way was to cut letters out of newspapers and magazines.
Transitional Serifs -
Vertical stress, ball terminals, organic serifs
Script -
Handwriting, cursive or scrawled
Gothic Sans -
Vertical stress, low contrast, tall x-height
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The designer is open to critique and improvement of this project for future renditions. All due credit has been attempted to be provided below. TYPE
The body copy is set in 12 or 14-point Proxima Nova. The headings and suplementary text in section 1 are set in Interstate. The headings and suplementary text in section 2 are set in Typewriter ExtraBold. The headings and suplementary text in section 3 are set in Bodoni Condensed. The name Toshi Omagari is set in Platia Extra Wide. The name Jessica Hische is set in Tilda. The headings and suplementary text in section 4 are set in Calvin.
PLACED WORK
Background imagery comes from the amazing creators at Pexels.com. Projects come from CJ Miller, ART222 Intro to Typography.
DESIGNER
CJ Miller
PUBLICATION
Issuu 2022
FIN.