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Introduction
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typography Anatomy
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Introduction of Fonts Calibri,walkway
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Future of typography
TYPOGRAPHY
l introduction
I got introduced to types in kindergarten where i learned what alphabets,numbers are. But then they were just figures and mere lines at todays date i can understand that typography is a very vast subjects with uncountable fonts diffrent styles,font families. its a never ending subject for a human being as typography is always been used whichever subject or work place is it.Typography keeps growing .
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TYPE
Anatomy
ABdc
Capline Mean line X-height Baseline
The quality of the typography depends on the relationship between”The quality of typography is dependent on the relationship between the printed and unprinted parts. It is a sign of professional immaturity to ignore the decisive contribution of the unprinted area.” – Emil Ruder
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2 APEX
a peak of an uppercase A.
A
Apex
ASCENDER
a case of a lowercase letterform(eg k,b,r,d) the ascends above the X height of the typeface
As cen der
hx
A R M a horizontal portion a letterform one or both which are unattached to the verticle portion
T
Arm
BEAK a kin to a spur, but a slightly
larger, the projection that extends from the ends of the uppercase L,Tor E
E
Beak
g
B O W L A curved portion of the letter form which forms a (Counter) the lower curved part of the uppercase g (loop) Bowl
COUNTER
The negative space of a letter form. a counter may be fully or partially enclosed.
dG
Counter
3 BRACKET
f
The serif that connects to the stem or stroke. may also be reffered to as fillet.
Bracket
CROSSBAR A horizontal part of the letter form that connects for example stem to a hairline Crossbar
H
4 CROSS STROKE
A horizontal part of a letter form intersects the vertical part.
Cross stroke
EAR
t g
D E S C E N D E R The portion of the lowercase platform(eg y,p,q) that decends below the typeface. In some cases the uppercases like Jand Q decends below the base line. Contrast ascender
Descender
The smaller decorative projection from the upprcase g Ear
g e
Baseline
EYE T he enclosed version on the uppercase ‘e’ similar to the COUNTER
eye
TYPOGRAPHIC
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Measurements
6 Poiint
8 Point
10 Point
12 Point
14 Point 18 Point
text type standard (10pt standard)
12 pt = 1 pica
24 Point
30 Point
36 Point
Display type
42 Point
48 Point
54 Point
60 Point
72 pt =1 inch
72 Point
T T TYPE
Classifications
Tr a n s i t i o n a l -medium tick/thin
modern
-Extreme thick thin
contrast
-finely bracketed serifs
contrast
-no bracketing to serifs
TT -vertical stress
Sans Serif
- no serifs - no mininal thick/thin serif - large X-height
Slab serif
- little or no thick/thin contrast - square serifs - vertical stress
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a
Walkway modern C a libr i
c lassic
aa HISTORY
Calibri™ Fonts Family is part of the modern sans serif family with subtle \roundings on stems and corners. Calibri was designed by Luc(as) de Groot.
The Calibri fonts features real italics, small caps, and multiple numeral sets. Calibri Fonts Family's proportions allow high impact in tightly set lines of big and small text alike. Calibri's many curves and the new rasteriser team up in bigger sizes to reveal a warm and soft character. The Calibri Fonts Family is featured in the Microsoft ClearType Font Collection, a set of fonts developed to take advantage of ClearType to improve the reading experience in Windows Vista and Office 2007
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DESIGNER
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Luc(as) de Groot
Lucas de Groot (born 21 June 1963 in Noordwijkerhout,the Netherlands), known professionally as Luc(as) de Groot, is a Dutch type designer. He is the head of the type foundry Fontfabrik.He is mostly known for the very large font family Thesis (TheSans, TheSerif, TheMix, TheSansMono and later TheAntiqua) and Corpid (previously AgroSans).De Groot has also designed various custom fonts for particular clients: Calibri and Consolas for Microsoft; SunSans for Sun Microsystems; SpiegelSans and Taz for, respectively, the German magazines Der Spiegel and die tageszeitung; and FolhaSerif for the Brazilian newspaper Folha. De Groot teaches at the Design Faculty of the University of Applied Sciences, Potsdam, Germany.
FONT
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l Calibri
a b cd e f g h i j k l mn o p q r s t u vxyz ABCDEFGHIJKL MNOPQRSTU VWXYZ 1 2 3 4 5 6 7 8 9 10 2
11 CALIBRI
Punctuations
! @ # $ % ^ & * ( ) _ + - = [ ] { } \ | ; : ’ ” , < . > / ? ¡ ™ £ ¢ ∞ § ¶ • ª º – ≠ œ ∑ ´ ® † ¥ ¨ ˆ ø π “ « å ß ∂ ƒ © ˙ ∆ ˚ ¬ … æ Ω ≈ ç √ ∫ ˜ µ ≤ ≥ ÷ ⁄ ‹ › fi fl ‡ ° · ‚ — ± Œ „ ´ ‰ ˇÁ ¨ ˆ Ø ∏ ” ’ » ÅÍ Î Ï ˝ Ó Ô Ò Ú Æ ¸ ˛ Ç ◊ ı ˜  ¯ ˘ ¿
FONT
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Family
calibri CALIBRI Regular
calibri CALIBRI Italic
calibri CALIBRI Bold
calibri CALIBRI Bold italic
FONT
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Usage BROUCHERS
MAGZINES
VISITING CARDS
aa HISTORY
T h e t y p e fa ce l o o k s e l e g a n t a n d m o d e s t a n d c a n b e u s e d b e s t fo r h e a d l i n e s . W i n d o w s , M a c O S X , L i n u x . WA L K WAY F O N T WA S D E V E LO P E D BY G E M F O N T G E M (G r a p h i c a l E nv i r o n m e n t M a n a g e r ) w a s a w i n d o w i n g s y s te m c r e a te d by D i g i ta l Re s e a r c h , I n c . ( D R I ) I t w a s u s e d fo r C P/M o p e r a t i n g s y s te m o n t h e I n te l 8 0 8 8 a n d M oto r o l a 6 8 0 0 0 m i c r o p r o ce s s o r s . L a te r ve r s i o n s r a n ove r D O S a s w e l l .G E M i s k n o w n p r i m a r i l y a s t h e g r a p h i c a l u s e r i n te r fa c e (G U I ) fo r t h e Ata r i S T s e r i e s o f co m p u te r s , a n d w a s a l s o s u p p l i e d w i t h a s e r i e s o f I B M P C - co m p a t i b l e c o m p u te r s f r o m A m s t r a d . I t w a s t h e c o r e fo r a s m a l l n u m b e r o f D O S p r o g r a m s , t h e m o s t n ota b l e b e i n gVe n t u r a Publisher
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FONT
l
Walkway
abc defghilkl mnopqrstuv w x yz ABCDEF GHIJK LMNOP QRSTUV W X YZ 1 2 3 4 5 6 7 8 9 10
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WALKWAY
Punctuation
! @ # $ % ^ & * ( ) _ + - = [ ] { } \ | ; : ’ ” , < . > / ? ¡ ™ £ ¢ ∞ § ¶ • ª º –≠ œ ∑ ´ ® † ¥ ¨ ˆ ø π “ « å ß ∂ ƒ © ˙ ∆ ˚ ¬ … æ Ω ≈ ç √ ∫ ˜ µ ≤ ≥ ÷ ⁄ ‹ › fi fl ‡ ° · ‚ — ± Œ „ ´ ‰ ˇÁ ¨ ˆ Ø ∏ ” ’ » ÅÍ Î Ï ˝Ó Ô Ò Ú Æ ¸ ˛ Ç ◊ ı ˜  ¯ ˘ ¿
FONT
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Family
walkway WALKWAY Black
walkway WALKWAY Condensed
walkway WALKWAY
Condensed semi bold
walkway WALKWAY Oblique
walkway WALKWAY Oblique Bold walkway WALKWAY Oblique ultrabold
walkway WALKWAY Black revoblique
walkway WALKWAY condensed bold
walkway WALKWAY Condensed ultra bold
walkway WALKWAY Bold revoblique
walkwayWALKWAY Oblique expand walkway WALKWAY Rev oblique
walkway WALKWAY Bold
walkway WALKWAY
Condensed semi-bold
walkway WALKWAY walkway Ultrabold
walkway WALKWAY oblique black
walkway WALKWAY Olique semibold walkway WALKWAY Rounded
FONT
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Usage SITES
TELEPHONE KEYS
LOGOS
FUTURE
l Typography
Typography keeps changing time to time in the eary 80s and 90s layouts of the advertisement the fonts were thicker with with serif fonts. The relationship between competition and innovation is universal. I believe that global communication is going to force designers—and thus typographers—to push themselves to understand and engage multiple cultures simultaneously. That’s probably not something any one designer can pull off, but I expect that we’ll see a lot of interesting collaboration, especially when it comes to ensuring that global marketing campaigns don’t keep getting botched by non-natives bad attempts at setting a “foreign” language. according to me globally “sanskrit” launguage will be accepted which is very logical easy to learn,write and read. In this fast moving globalising world the word “Foriegn” won’t be used in few fifty years.
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Bibliography www. defont.com www. wikipedia.com www.microsoft.com www.gemfont.com Typography Workbook - Timothy Samara The graphic language of Neville Brody
Š Indrajeet Deshmukh creations- All rights reserved.This product is subject to the copyright and other property rights