a RSt Type Classifications By Emily Gregor
PROJECT For this project, we learned how to identify and classify type This assignment helped me begin building these sensitivities through a series of posters that showcased the six different classifications of type. SPECIFICATIONS Research each type family and collect at least three typefaces from each classification and a paragraph about the history of each classification. You will use this information to create a series of 6 posters that showcase the unique and identifying characteristics of each classification. The posters must include: T: Title of Family Classification TEXT: A paragraph of the history of the family TEXT: A list of at least 3-5 other typefaces in the family, set in the respective typefaces TEXT: Upper and lowercase, numerals and punctuation of a chosen typeface from the classification LARGE GRAPHIC: The most interesting letterform from the same typeface
The sketches After I researched and gathered my content the next step was to create a “template� design that I used for all 6 posters. To do this, I started
by creating at least 25 thumbnail sketches for the front layout, utilizing the principles I have learned in class, such as hierarchy, the grid,
use of compositional space, and the aesthetic principles of design (tension, movement, rhythm, scale, contrast, etc.).
Here are the three final sketches I brought to class:
The First Draft After figuring out which thumbnails I wanted to refine, I went to the drawing board to figure out which layout would be the most effective in relaying my message.
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 1234567890 {Bell, Garamound, Palatino, Cooper Black, Hoefler Text}
Old Style
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Old style typefaces are an important component of every good typeface library. Originally created between the late 15th and mid-18th centuries, these early roman types are characterized by curved strokes whose axis inclines
to the left, and little contrast between thick and thins. Serifs are almost always bracketed in old style designs, and head serifs are often angled. The lowercase “e� in some versions features a diagonal cross stroke.
R
Old Style
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 1234567890
Old style typefaces are an important component of every good typeface library. Originally created between the late 15th and mid-18th centuries, these early roman types are characterized by curved strokes whose axis inclines to the left, and little contrast between thick and thins. Serifs are almost always bracketed in old style designs, and head serifs are often angled. The lowercase “e� in some versions features a diagonal cross stroke.
Bell | Garamound | Palatino | Cooper Black | Hoefler Text
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l l d e n B u o m a Gar t i n o a l ck a a l P B r e p Coo er Text fl e o H
Old Style
R }
Old style typefaces are an important component of every good typeface library. Originally created between the late 15th and mid-18th centuries, these early roman types are characterized by curved strokes whose axis inclines to the left, and little contrast between thick and thins. Serifs are almost always bracketed in old style designs, and head serifs are often angled. The lowercase “e� in some versions features a diagonal cross stroke.
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 1234567890
Old Style
R
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 1234567890
Old style typefaces are an important component of every good typeface library. Originally created between the late 15th and mid-18th centuries, these early roman types are characterized by curved strokes whose axis inclines to the left, and little contrast between thick and thins. Serifs are almost always bracketed in old style designs, and head serifs are often angled. The lowercase “e� in some versions features a diagonal cross stroke.
Bell | Garamound | Palatino | Cooper Black | Hoefler Text
}
Old Style
Bell Garamound Palatino Cooper Black Hoefler Text
}
Old style typefaces are an important component of every good typeface library. Originally created between the late 15th and mid-18th centuries, these early roman types are characterized by curved strokes whose axis inclines to the left, and little contrast between thick and thins. Serifs are almost always bracketed in old style designs, and head serifs are often angled. The lowercase “e� in some versions features a diagonal cross stroke.
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 1 2 3 4 567890
Old Style
R Old style typefaces are an important component of every good typeface library. Originally created between the late 15th and mid-18th centuries, these early roman types are characterized by curved strokes whose axis inclines to the left, and little contrast between thick and thins. Serifs are almost always bracketed in old style designs, and head serifs are often angled. The lowercase “e� in some versions features a diagonal cross stroke.
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 1234567890
Bell | Garamound | Palatino | Cooper Black | Hoefler Text
The Second Draft After Professor Ward was able to look over my layouts, the layout he thought was the most effective ended up being my favorite as well. With a few color adjustments, we were able to find a way to satisfy the project specifications and create a strong hierarchy between the different elements of my design. Below you will find the design layout we found to be the strongest, followed by the modified design layout, and then the second draft, which includes real text and the addition of color.
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l l d e n B u o m a Gar t i n o a l ck a a l P B r e p Coo er Text fl e o H
Old Style
R
Original Layout
}
Old style typefaces are an important component of every good typeface library. Originally created between the late 15th and mid-18th centuries, these early roman types are characterized by curved strokes whose axis inclines to the left, and little contrast between thick and thins. Serifs are almost always bracketed in old style designs, and head serifs are often angled. The lowercase “e� in some versions features a diagonal cross stroke.
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 1234567890
}
l l e nd B u o am n o r a G ti a l P a er Black p Coo er Text fl e o H
Old Style
R }
Modified Layout Old style typefaces are an important component of every good typeface library. Originally created between the late 15th and mid-18th centuries, these early roman types are characterized by curved strokes whose axis
inclines to the left, and little contrast between thick and thins. Serifs are almost always bracketed in old style designs, and head serifs are often angled. The lowercase “e� in some versions features a diagonal cross stroke.
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 1 2 3 4 5 6 7 8 9 0
}
l l e nd B u o am n o r a G ti a l P a er Black p Coo er Text fl e o H
}
Old style typefaces are an impor tant component of ever y g ood typeface librar y. Originally created between the late 15th and mid-18th centuries, these early roman types are characterized by cur ved strokes whose axis inclines
Old Style
R
to the left, and little contrast between thick and thins. Serifs are almost always bracketed in old style designs, and head serifs are often angled. The lowercase “e� in some versions features a diag onal cross stroke.
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 1 2 3 4 5 6 7 8 9 0
}
e l l i v er k s a B ia r b n Cam gia a m o r R o e w G e N s e m i T
}
Transitional typefaces represent the initial departure from centuries of Old Style tradition and immediately predate the Modern period. Characteristics of transitional typefaces include a greater contrast between thick and thin stokes,
Transitional
G
wider, gracefully bracketed serifs with flat bases, a larger x-height, and vertical stress in rounded strokes. Also, the height of the capitals matches the height of the ascenders. Finally, numerals are cap-height and consistent in size.
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 1 2 3 4 5 6 7 8 9 0
e t u o e Did etica N Helv ans S l l i G a Futur
}
These types are classified as Moder n because they represent the last phase of character evolution from the peninspired Old Style types as well as the first effor t to use the design of type to establish a contemporar y visual style
Modern
K }
in written communication. Moder n typefaces include a strong contrast between thick and thin strokes, a small x-height, a ver tical stress in rounded strokes, and hairline serifs without bracketing.
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 1 2 3 4 5 6 7 8 9 0
l a i r A ir n e Av i r b i l a C a c i t ic e h v l t e o G H n i l k n a r F
}
Sans Serif fonts came around during the early 20th centur y due to continuous advancement in printing and typesetting, a flourishing of adver tising and print jour nalism, and a contemporar y movement in type
Sans Serif
Q }
design. San Serif fonts usually don’t have much (if any) variation between thick and thin strokes and don’t have serifs. They also tend to have a larger x-height and don’t have a stress in rounded strokes of the 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 1 2 3 4 5 6 7 8 9 0
}
r e i r u o l l C e kw ia c o r R d n a Alex
}
The Industrial Revolution of the 19th centur y brought a multitude of changes to printing and typog raphy, including the creation of Slab Serif typefaces. Slab Serif typefaces generally have minimal variation between their thick
Slab Serif
M
and thin strokes. They also tend to have heavy serifs with squared-off ends and large x-heights. Slab Serif typefaces can also be refer red to as Eg yptian typefaces. Clarendon is the most popular Slab Serif typeface.
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 1 2 3 4 5 6 7 8 9 0
o i s u c o ha d u a a B g g a r B ington r r a H l i c n e t S
}
Decorative or Display typefaces traditionally were used only in or namenting title pages, chapter headings and initials. Display typefaces are primarily used in poster and adver tisement design and are used
Decorative
W }
to make an impact. Early decorative typefaces can be divided into the following categ ories: Fat Faces, Inlines and Outlines, Illustrated, and Shaded, all of which are finding unique ways to communicate a message.
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 1 2 3 4 5 6 7 8 9 0
The Third Draft
After a second critique of my drafts, I modified my designs a third time, this time including punctuation, testing the design using one letter as the dominant letter, and increasing the gutter between my columns of body text. I’m wondering if I need to change the point size of my paragraphs and I’m wondering if I like using different letterforms or if I like just using the same one throughout the series.
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l l e nd B u o am n o r a G ti a l P a er Black p Coo er Text fl e o H
}
Old style typefaces are an impor tant component of ever y g ood typeface librar y. Originally created between the late 15th and mid-18th centuries, these early roman types are characterized by cur ved strokes whose axis inclines
Old Style
R
to the left, and little contrast between thick and thins. Serifs are almost always bracketed in old style designs, and head serifs are often angled. The lowercase “e� in some versions features a diag onal cross stroke.
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 1 2 3 4 5 6 7 8 9 0 . , ! ?
e l l i v er k s a B ia r b n Cam gia a m o r R o e w G e N s e m i T
}
Transitional typefaces represent the initial departure from centuries of Old Style tradition and immediately predate the Modern period. Characteristics of transitional typefaces include a greater contrast between thick and thin stokes,
Transitional
R }
wider, gracefully bracketed serifs with flat bases, a larger x-height, and vertical stress in rounded strokes. Also, the height of the capitals matches the height of the ascenders. Finally, numerals are cap-height and consistent in size.
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 1 2 3 4 5 6 7 8 9 0 . , ! ?
i n o d Bo ury t n k e o C o b l o o h Sc ot d i D
}
These types are classified as Moder n because they represent the last phase of character evolution from the peninspired Old Style types as well as the first effor t to use the design of type to establish a contemporar y visual style
Modern
R }
in written communication. Moder n typefaces include a strong contrast between thick and thin strokes, a small x-height, a ver tical stress in rounded strokes, and hairline serifs without bracketing.
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 1 2 3 4 5 6 7 8 9 0 . , ! ?
l a i r A ir n e Av i r b i l a C a c i t ic e h v l t e o G H n i l k n a r F
}
Sans Serif fonts came around during the early 20th centur y due to continuous advancement in printing and typesetting, a flourishing of adver tising and print jour nalism, and a contemporar y movement in type
Sans Serif
R }
design. San Serif fonts usually don’t have much (if any) variation between thick and thin strokes and don’t have serifs. They also tend to have a larger x-height and don’t have a stress in rounded strokes of the 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 1 2 3 4 5 6 7 8 9 0 . , ! ?
r e i r u o l l C e kw ia c o r R d n a Alex
}
The Industrial Revolution of the 19th centur y brought a multitude of changes to printing and typog raphy, including the creation of Slab Serif typefaces. Slab Serif typefaces generally have minimal variation between their thick
Slab Serif
R }
and thin strokes. They also tend to have heavy serifs with squared-off ends and large x-heights. Slab Serif typefaces can also be refer red to as Eg yptian typefaces. Clarendon is the most popular Slab Serif typeface.
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 1 2 3 4 5 6 7 8 9 0 . , ! ?
o i s u c a o h d u a a B g g a Br ington r r a H il c n Ste
}
Decorative or Display typefaces traditionally were used only in or namenting title pages, chapter headings and initials. Display typefaces are primarily used in poster and adver tisement design and are used
Decorative
R }
to make an impact. Early decorative typefaces can be divided into the following categ ories: Fat Faces, Inlines and Outlines, Illustrated, and Shaded, all of which are finding unique ways to communicate a message.
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 1 2 3 4 5 6 7 8 9 0 . , ! ?
The Final Draft
After an in-class critique, I modified my design quite a bit. I changed the alignment, the placement of the type classification, increased the size of my chosen letterform, decreased the size of my body text, and changed my strategy completely for displaying the type families.
This was one final iteration I tried before deciding on the layout that follows.
Baskerville
Cambria
Georgia Times New Roman
Transitional typefaces represent the initial departure from centuries of Old Style tradition and immediately predate the Modern period. Characteristics of transitional typefaces include a greater contrast between thick and thin stokes, wider, gracefully bracketed serifs with flat bases, a larger x-height, and vertical stress in rounded strokes. Also, the height of the capitals matches the height of the ascenders. Finally, numerals are cap-height and consistent in size.
Transitional
R
}
}
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 1 2 3 4 5 6 7 8 9 0 . , ! ?
Baskerville
Cambria
Georgia Times New Roman
Transitional typefaces represent the initial departure from centuries of Old Style tradition and immediately predate the Modern period. Characteristics of transitional typefaces include a greater contrast between thick and thin stokes, wider, gracefully bracketed serifs with flat bases, a larger x-height, and vertical stress in rounded strokes. Also, the height of the capitals matches the height of the ascenders. Finally, numerals are cap-height and consistent in size.
Transitional
R
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 1 2 3 4 5 6 7 8 9 0 . , ! ? ‘ “ ; :
Bell
Cooper Black Garamound Hoefler Text P a l a t i n o
Old style typefaces are an impor tant component of ever y g ood typeface librar y. Originally created between the late 15th and mid-18th centuries, these early roman types are characterized by cur ved strokes whose axis inclines to the left, and little contrast between thick and thins. Serifs are almost always bracketed in old style designs, and head serifs are often angled. The lowercase “e” in some versions features a diag onal cross stroke.
Old Style
R
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 1 2 3 4 5 6 7 8 9 0 . , ! ? ‘ “ ; :
Bo doni
Century Schoolbook
Didot
These types are classified as Moder n because they represent the last phase of character evolution from the pen-inspired Old Style types as well as the first effor t to use the design of type to establish a contemporar y visual style in written communication. Moder n typefaces include a strong contrast between thick and thin strokes, a small x-height, a ver tical stress in rounded strokes, and hairline serifs without bracketing.
Modern
R
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 1 2 3 4 5 6 7 8 9 0 . , ! ? ‘ “ ; :
Arial Avenir Calibri Helvetica Franklin Gothic
Sans Serif fonts came around during the early 20th centur y due to continuous advancement in printing and typesetting, a flourishing of adver tising and print jour nalism, and a contemporar y movement in type design. San Serif fonts usually don’t have much (if any) variation between thick and thin strokes and don’t have serifs. They also tend to have a larger x-height and don’t have a stress in rounded strokes of the letters.
Sans Serif
R
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 1 2 3 4 5 6 7 8 9 0 . , ! ? ‘ “ ; :
Courier
Rockwell
Alexandria
The Industrial Revolution of the 19th centur y brought a multitude of changes to printing and typog raphy, including the creation of Slab Serif typefaces. Slab Serif typefaces generally have minimal variation between their thick and thin strokes. They also tend to have heavy serifs with squaredoff ends and large x-heights. Slab Serif typefaces can also be refer red to as Eg yptian typefaces. Clarendon is the most popular Slab Serif typeface.
Slab Serif
R
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 1 2 3 4 5 6 7 8 9 0 . , ! ? ‘ “ ; :
Bauhaus Braggadocio
Harrington Stencil
Decorative or Display typefaces traditionally were used only in or namenting title pages, chapter headings and initials. Display typefaces are primarily used in poster and adver tisement design and are used to make an impact. Early decorative typefaces can be divided into the following categ ories: Fat Faces, Inlines and Outlines, Illustrated, and Shaded, all of which are finding unique ways to communicate a message.
Decorative
R
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 1 2 3 4 5 6 7 8 9 0 . , ! ? ‘ “ ; :