NOT FINISHED!!!!!!!
Published by Jens Marco Granmorken Printed by Blurb Fonts Helvetica Nue Myk Helvetica Times Futura Rockwell Minion Paper Premium Matte (100# Text) Authors Cameron Chapman Design is History iDesign
HELLO, AND WELCOME TO HYPE TYPE.
HELLO.
9-11 5 CLASSICAL FONTS ALL GRAPHIC DESIGNER SHOULD HAVE.
24-29 TYPEFACES, WHAT YOU NEED TO KNOW ABOUT THEM.
38-42
1-5 A SHORT INDUCTION ON WHAT AND WHY TYPOGRAPHY IS IMPORTED.
11-23 THE ULTIMATE TYPOGRAPHICAL CHEAT SHEET.
30-37 BYE.
-`WHATS THIS TYPOGRAPHY YOU SPEAK OF?´
BASICALLY, TYPOGRAPHY IS THE ART AND TECHNIQUE OF TYPE, AND MODIFYING TYPE GLYPHS. THE PRACTICE AND STUDY OF TYPOGRAPHY IS VERY BROAD AND COVERS ALL ASPECTS OF LETTER DESIGN AND APPLICATION.
TYPOGRAPHY
It ,iappe t iff aars r g , sin e g aweb p bepages, w n i sgraffiti, r a e ppa tI architectural , s r e t s o p , g lettering, n i r e t t e l l aposters, r u t c e t i hc r a b illb oards, , s ogo l advertising, , g n i s i t r evda logos, , s d r ao bl l i b clothing , s pa m apparel, , sl e ba l lab ,l erels, a ppmaps, a g n i h t o lc appliances, y r eve t i etc. e e s You uoY see .ct e it, s eevery cn a i lppa day tand u p t’most nod epeople lpo e p t sdon o m’t dput n a ya d much yaw ehthought t tu b , t iinto o tn iit,thbut g uo hthe t hway c um the ntext a yl lis a elaid r s i tout uo d isi are l ally s i t xean t eh t art. hcIt i hw is not r of eacnscience e i c s a tfor on which s i tI . t r a we need e t i n ifetod follow yn a woany l lof definite o t d e en ew guidelines and. s erules. l u r dn a s en i l ed i u g It twouldn a h t ya s’t obt eg wrong nor w e bto t’say ndl uthat ow tI typography e lor r o japlays m a a syamajor lp yhprole a r go p y t in making n g i s ed cany i hpagraphic r g yn a gdesign n ikam n i successful yhpa r g.oWithout p y t tuo h ttypography iW . l uf s s e c c u s every e b o tdesign r a e ppawould dl uowappe n g iar s edtoy rbeeve incomplete. . e t e lpm o cn i Typography r en g i s ed ehallows t swo l lthe a yh designer pa r go p yT to b e cre taative h t syain w ways n i evithat ta er c e b o t other n g iaspects s ed c i hpof a r ggraphic fo s t c edesign ps a r eh t o do not.toHowever n , h g uo hthough, t r evewonot H . t on o d every yn atype r of dcan e s u beeb used n a c efor p y tany y r eve design.ynSurprisingly, a m n i ,ylg n i sin i r pmany r uS .n g i s e d instances yls s or gtypography s i yhpa r go pisy tgrossly s e cn a t s n i overlo s dn eoked dn a or d e smisused u s i m r o and d ekoends o lr evo up l l a r enegatively vo eh t g n affecting i t c eff a yl ethe vi tagoverall en p u outcome uoy evaof H . the t c e joproject. r p eh t fHave o e mo you ct u o ever ed i sseen eh t n a ob d illb r aooard bl l i bon a n the e e sside r eve ofo othe t s aroad, w tnobut f ehthe t tufont b , dawas or ehto t ofo smallo toruotoyor ofancy f ycn afor f oyou o t r otol l a m s re ad it? ?t i da e r
In severy i e p y tsituation er ehw nwhere o i ta u t i stype y r evis e nI used , g nwhether i h s i l bu p it n ’si sin ’ t i publishing, r eh t ehw d e s u signage, ct e ,no i spackaging, i ve l e t , g n i gtelevision, a kca p , e g a n etc gis the rdesigner ieh t t pa dhas a o t tos a h adapt r en gtheir i s e d eh t techniques .m ui d e mtoehsuit t t i uthe s o tmedium. s e uq i nh c e t A the s uadline j skr owstyle ta h t that e ly t sworks en i l dajust eh A fine dl uoin w adamagazine er ps en iz aspre g a mada would n i e n if not .r e tnecessarily s o p a no krwork ow yl on i r a sas eposter. c e n t on A magazine d ewe i v sisyaalways wl a s i eviewed n iz ag a m A straight-on o s , h t g at n e larms s m r alength, ta no -th sog i a r t s letterthspacing g i t s a e bcan n abc eg n asi catight ps r e t t e l as you l l i wlike s dr oand w ehthe t dn words a ek i lwill uoy s a still b, es i re r eadable. t s o p A A. e lposter ba da er is, e b l l its more often d ewe i vthan , ton not, n a hviewed t n e tfo er o m obliquely, e p y t eh t which s t r o t s i ddistorts hc i hw the ,yl e utype q i l bo to asome ,r e t s oextent. p a h t iWith W . tn eat xposter, e e m o sa o t littles pextra l eh g nletter i ca ps spacing r e t t e l a rhelps t xe e lt t i l identification l a ud i vi dn i of eh tthe fo individual no i ta c if i tn ed i characters, eh t , o s g nand, io d n ini ,doing dn a , s rso, e t cathe r a hc words. . s dr ow Typography eh t g n i is m obcecoming e b s i yhpthe a r go p yT new yl eblack taL .gin n i s advertising. i t r evda n i kcLately a l b wen there have g niw b een or g aa n growing e e b eva h er eh t numb ta h ert of s tn eadvertisements m e s i t r evda fo that r e bm un make o t yuse hpa rof gofun p y t typography n uf fo e s u eto kam get the e s eh message T . s s or caacross. e g a s s eThese m eh t t e g advertisements evi t c effe y r ev are er a very s tn e meffective e s i t r evda bn ecause o i s s er pthey m i nle a ave eva ean l yiempression h t e s ua c e b in the . s re m minds u s no c of eh tthe fo consumers. s d n i m eh t n i
LIKE BEETHOVEN THIS SHIT IS CLASSIC.
Helvetica is probably the most commonly used typeface in all of graphic design, and almost certainly the most widely used sans serif.
As mentioned, Helvetica’s ab ility to b e used in virtually any circumstance is prob ably its gre atest strength. It also has excellent letterforms and kerning. Helvetica could b e argued to b e the most versatile typeface out there. It ’s literally s uitable for virtually any kind of design application, and lo oks go od at b oth large and small sizes.
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 01 23456789
Times New Roman was commissioned by the British newspaper The Times in 1931 after the paper was criticized by Stanley Morison for being typographically antiquated and poorly printed.
The ub iquitous nature of Ti mes New Roman has made it an ide al choice for situations where fonts can ’t b e emb edded. It ’s also highly re adable, even at smaller sizes. Ti mes New Roman is b est suited for b ody copy, b oth online and off.
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 0123456789
Futura is a geometric sans-serif typeface that was commissioned by the Bauer type foundry in 1927.
Futura has an efficient, forward appe arance, and is derived from si mple geometric forms. This is evident in the obvious influence of ne ar-perfect circles, squares, and triangles. All non-essential elements were removed from the typeface, and the uppercase characters have proportions si milar to classical Roman capitals. Futura is an excellent choice for advertising copy. It ’s well suited to any modern design, for b oth he adings and short copy.
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 0123456789
Rockwell is a slab serif, with no real variation in stroke weight. It was designed inhouse at Monotype in 1934.
The geometric forms of Rockwell make it more si milar to sans serif typefaces, making it a go od choice for comb ining with geometric sans serifs. Rockwell is b est-suited for use as a display typeface due to its thick, monoweighted strokes.
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 0123456789
Minion is an old style serif typeface, inspired by late Renaissance-era typefaces. One unique feature of Minion is the support of Regular and Display optical sizes, meant to optimize the legibility by using different stroke contrasts and details, in the Regular and Italic versions of the typeface.
The different optical sizes available with Minion are one of its gre atest strengths, making it considerably more versatile. Minion is an excellent choice for printed copy, and is used for typesetting b o oks and journals. It has also b een used in various logotypes, including MathWorks’ Matlab and Brown University.
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 0123456789
GLOSSARY OF TERMS.
T y p e
For e m ohe s adlines , s da ehbuand s dnsubhe a s en iads, l da esome h r oF careful n a cediting/re-wording g n i dr ow-er/g n i t i d ecan l ufer a c elig minate n i g n a h Cthe ;m problem; e l bor p ehChanging t e ta n i m i l e the y alignment a m t xe t ehoft fthe o tntext e mnmay g i l a eh t also help. .pl eh o sl a
Typefaces e grwith a l y rvery ev h t ilarge w s e cafe p yT x-heightl a relative to t eh t oto t ethe vi tatotal l e r th g ieh-x height r e t rof o h sthe evafont h tnhave of ehshorter t fo th g ieh ascenders dn a s rand edn edescenders c s ed dn a s rand edn e c s a thus nless e ew twhite e b e caspace ps e t i bhw etween s s e l s uh t lines s e cafeof p ytype. t f i r e SSans s n a SSerif . e p ytypefaces t fo s e n i l typically nI . s th ghave ieh-x large e gr a l x-heights. eva h yl l a cIn ip y t typefaces , s th g ieh with -x l l asmall m s h tx-heights, i w s e cafe p y t other letter sa h parts c u s ssuch t r a p ras e t t e l r eh t o ascenders ya m s rand edn edescenders c s ed dn a s rmay edn e c s a b ecome . e l ba e c imore ton ylvisually l a u s i v ernotice om e m able. oce b
The ybr aaseline n i g a m iiseh the t s ii maginary e n i l e s a b eh T linet xupon e t fo which en i l a ahcline i hw of notext p u en i l rests. Inehmost t , s e ctypefaces, afe p y t t s o m thenI . s t s er descenders s a hc u s s ron e t cacharacters r a hc no s rsuch edn e cas s ed g orehpt extend wo l e b ndown wod dbnelow e t xe the p ro g bhcaseline u s s r e t twhile e l d evcurved r u c e l i hletters w en i l such esa b as cylor th goi lsextend - o s-r eve ever-so-slightly d n e t xe o r o c s a b elow the b aseline. . en i l e s a b eh t wo l e b
BASLINE
The sascenders r e t t e l e m oof s fsome o s r edletters n e c s a eh T may touch hc uoor t talmost s o m l a rtouch o hc uo t ya m letters g n i s uin a c the evo bline a enab i l ove eh t causing n i s re t t e l awkward . s n r e t ta porg ndistracting i t ca r t s i d r opatterns. dr aw kwa This nise pmost pa h olikely t yl ek ito l thappen s om s i s i h T or b e obvious en i l a when n ehw as uline o i v bo e b r o of text s i with s r edn etall c s a ascenders l l a t h t i w is t xe t fo b elow g noal h line t i w of t xetext t fo with en i l along wo l e b descenders. m e l bor p eh tTo evlresolve o s er oTthe . s r eproblem dn e c s ed of touching dn a sascenders r edn e c s a g and n i h c u o t fo descenders eh t e s a eryou cnI :ncan: a c uIncre oy s rase ednthe e c s ed le ading n e ew(line t e b )gspacing) n i ca ps ebnetween i l ( g n i da e l lines tn erof eff itype; d a eCho s o o hose C ;eap ydifferent t fo s e n i l typeface; ;e cafe p y t
X-Height n e ew t e bis ethe cn a tdistance s i d eh t sbi etween th g ieH-X the beaseline p y t fo eof n i la aline fo eof n i ltype e s a b eh t and ftops o ydof o b the n iam main eh t bfody o s pooft dn a lower g n icase d ulcxletters e . e.i ( s r( i.eet.t eexcluding l e s a c r ewo l ascenders eh T .or )s r edescenders). dn e c s ed r o sThe r edn e c s a x-height e cafe p isy ta nfactor i r o t cain f atypeface s i th g ieh-x identification .y t i l i ba da eand r dnre a adab no i taility. c if i tn e d i
X-HEIGHT
ASCENDER
The upward no m e t s vertical l a c i t r ev stem dr awon p u eh T some s a lowercase hc u s , s r e t tletters, e l e s a c rsuch ewo l as e mo s h and eh t eb,vothat ba s extends dn e t xe taab h tove ,b dthe na h x-height eh T is .rthe ednascender. e c s a eh t sThe i th g ieh-x heightn aofs ithe s r eascenders dn e c s a eh tisfoanth g ieh identifying yn a m fo c i tcharacteristic s i r e t ca r a hc g nof i yf many i tn e d i typefaces. . s e cafe p y t
Themboaseline rf tn io piseh the t s ipoint en i l e from s a b eh T whiche pother y t fo elements s tn e m e l e of r ehtype t o h c i hw areth me g iehasured -x g n i dincluding ulcn i d er ux-height s a e m er a and lesading. i en i l eThe s a b ebhaseline T .g n i dis a e l dn a also tn e m significant n g i l a eh t in n i the tn a calignment if i n g i s o sl a of drop e g acaps p r ehand to dother n a s papage c por d fo elements. . s tn e m e l e
h y p e Thee sportion a c r ewo l of e msome o s fo lowercase no i t r o p eh T letters,tasuch h t ,y as dn ag gand s a y, hcthat u s , s re t t e l extends w oro ldescends e b s dn e c sbed elow r o s d n e t xe the b aseline .r edn e c s eisd the eh t descender. s i e n i l e s a b eh t The length eh t fo and e pa hshape s dn a of h t gthe n e l eh T descender y t i l i ba dacan er t caffect eff a nre a cadab r edn ility e c s ed of lines nofa type s i dn aand e p yist an fo s e n i l fo identifying e m o sfactor r of r ofor t cafsome g n i yf i tn ed i typefaces. . s e cafe p y t
DESCENDER
CAP HEIGHT
Cap fo thHeight g ieh ehrefers t o t sto r efethe r thheight g ieH pof aC aencapital i l e s a b eletter h t evoab baove r e tthe t e l lbaaseline t ipa c a for a particular tI . e cafe p ytypeface. t r a l u c i t rIt a p a r of specifically fo th g ieh ehrefers t o t sto r efethe r ylheight l a c if i c eof ps capital hc u s—letters ta l f er athat ta hare t s r eflat—such t t e l l a t ipa c as HdnoruoI—as r o t opposed d e s o ppo to s a—round I ro H s a lettersdsuch e tn io pasr oO, ,Oors apointed hc u s s r e t t e l letters ya m hclike i hwA,fobhoth to bof, Awhich ek i l s rmay ettel display fo th g oversho ieh eh T ot. . tThe o o h s rheight evo yaof lps i d the s a small o t d erletters r efer s iiss rreferred ettel l lam tos as eh t x-height. . th g ieh-x
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TYPE HYPE IS PROUD TO PROVIDE ALL YOU GRAPHIC DESIGNERS OUT THERE WITH A GLOSSARY OF TERMS (CHEAT SHEET). 01 Aperture 02 Apex 03 Arc 04 Arm 05 Ascender 06 Axis 07 Beak 08 Bilateral Serif 09 Bowl 10 Bracket 11 Counter (open) 12 Counter (closed) 13 Crossbar 14 Crotch 15 Descender 16 Ear 17 Eye 18 Finial 19 Foot 20 Hairline (stroke) 21 Head Serif 22 Joint 23 Leg 24 Ligarure
25 Link/Neck 26 Loop 27 Overhang 28 Serif 29 Shoulder 30 Spine 31 Spur 32 Stem 33 Stress 34 Tail 35 Tittle 36 Terminal 37 Vertex
WHO KNEW THAT THERE WERE SO MANY TYPEFACES...
THERE ARE THOUSANDS OF DIFFERENT TYPEFACES AND FONTS AVAILABLE TO DESIGNERS, PRINTERS, PUBLISHERS, ARTISTS AND WRITERS (AS WELL AS THE GENERAL PUBLIC) TODAY.
TYPEFACES
There ya lare ps i dall fo types s e p y t of l l adisplay e r a e r eh T and g n i htext t y r evtypefaces e dn a s e caand fe p yeverything t t xe t d n a inn ib eetween. l ba l i avaMost er a tare s oMavailable .n e ew t e binn i fao digital y t e i r avformat a m orffrom ta m raofvariety l a t i g i d of a type e b yfoundries l i s a e n a c and dn a can s e i r denasily uof ebpey t used, n r ed oand m h exploited, t i w , d e t io lpwith xe d n modern a ,desu computer t s a v eh technology. T .y go lonhcThe e t r evast t u pm o c amount s ek a m of e l btype a l i ava available e p y t fo makes tn u o m a specific eno y r evclassification e fo no i ta c if iof s s a levery c c if i cone e ps netarly a hweim mpossible o s dn a e land bi s s osomewhat pm i ylr a en frivolous. tn a t r o pmHowever, i s i t i ,r evitew isoH i mportant . s uo lovi rf toeh have t fo an g n iunderstanding dn a t s r edn u n a of evathe h ot b asic pl ehstyles o t s eof cafetypefaces p y t fo s eto ly t shelp ci s a b narrow dn a h down c r a e s the e r eh rese t narch wod w and or r a n selection . e cafe p yof t t cthe er r ocorrect c eh t fotypeface. no i t c e l e s
SCRIPT TYPEFACES ARE BASED ON THE FORMS MADE WITH A FLEXIBLE BRUSH OR PEN AND OFTEN HAVE VARIED STROKES REMINISCENT OF HANDWRITING. Blackletter t pi r c s a etypefaces r a s e cafe pare y t r eat tscript e l kca lB style eof r ewcalligraphy ta h t yhpa rthat g i l l a were c fo e l y t s popularized h g uo h tl a ,yn ain m rGermany, e G n i d ezalthough i r a l u po p theye pwere or uE used r evo all l l a over d e s u Europe er ew yeh t from eh t hthe g uormiddle h t s e g a ages e l dd ithrough m eh t mthe orf Renaissance. l a tn e m a n r o yAl h highly g i h A . eornamental cn a s s i a n eR style s e ly t softntypgraphy, er eff i d ,yhpdifferent a r gp y t fostyles e ly t s are often eh t hassociated t i w d e ta i c owith s s a nthe e tfo er a different yeh t hregions c i hw n i in s nowhich i g er tnthey er eff i d were developed . d e s u dand n a dused. e po l eved er ew The ed u main lcn i sclassifications no i ta c if i s s a lc ninclude i a m eh T Textura, avi s r Schwab uC ,r ehcacher, a bawhCursiva cS , a r u t xeT and t s om Fraktur. eh t s i Textura a r u t xeT is.r uthe tk a rmost F dn a closely c i hpa rrelated g i l l a c eh tot the o t dcalligraphic e ta l er yl e s o lc style e grand a l a often s ed ulcincludes n i n e tfo adnlarge a e ly t s numb r ehcaerbaof whligatures. cS . s er u tagSchwab i l fo r eacher bm un typefaces , d e ihave f i lpmai s siamplified, eva h s e cafe p y t rounded fo l astroke r eve s dand n a eseveral kor t s d eofdn uor their g nid lowercase ulcn i , s r e tletters, t e l e s a cincluding r ewo l r ieh t ‘o’, are . s moften r of s uanalogous ogo l a n a n eforms. tfo er a ,’ o ‘ Cursiva, , s t s e gas g u sthe e mname a n ehsuggests, t s a , a vi s r uC is closely evirelated s r u c o t to d ecursive ta l er yl e s o lc s i letters y b d ezand i n gocan c er be eb recognized n a c dn a s r eby ttel the more fo e cnfrequent e s er p tn epresence uqerf er oof m eh t descenders . s r edn e c s a and d e poloooped l dn a ascenders. s r edn e c s ed Fraktur m r of no m is m the o c most t s o m common eh t s i r u tform k a rF of d ezBlackletter i r e t ca r a hc and s i dnis a characterized r e t t e l kca lB fo by broken strokes.. s ekor t s n ekor b y b
Letters t r a associated eh t h t i w d ewith ta i c othe s s a art s r e t t eL of calligraphy s tnof eh t and dn a the yhpfonts a r g i l l a c fo developed no i t c ud ofrom r p r ietheir h t m oproduction rf d e po l eved can .c i hbpea rclassified g i l l a c s a as d e icalligraphic. f i s s a lc e b n a c Calligraphic , e b n aletters c s r e t t can e l ci h bp e,a r g i l l aC although , e bdo o t not eva hhave ton to odbhe,g uo h tl a classified n a c s u r tEas ,yChancery, r e cn a h C s aEtruscan d e if i s s a lc or eUncial va h s r.e tChancery t e l y r e cn aletters h C . l a i chave nU r o slightly s r e tsloping t e l wor rnarrow a n g n ipletters o ls ylth g i ls and were eh tinfluential n i l a i tn e ul in f n ithe er ew dn a development . sc i l a t ioff i rserif e s foitalics. tn e mpo l eved
CALLIGRAPHIC
Formal eh t noScripts d e s a b are er a bsased t pi r cSonl athe m r oF developments h t7 1 fo s g n i t i rand w dnwritings a s tn e mpof o l e17th ved and 18th g n i t icentury r wdn a h handwriting y r u tn e c h t8 1 d n a masters , m a h kc isuch B e gras o e GGeorge s a hc uBickham, s s re t s a m George . l l enS eShelley gr o e G dand n a yGeorge e l l eh S eSnell gr o e. G Casual eh t n scripts i d e podeveloped l eved s t pi rin c s lthe a u s aC 20th - o to hcentury p fo tl u sas er aa result s a y r uof tn ephotoc h t0 2 typesetting d e i r av er o m ander aarednmore a g n i varied ttesepyt and o t rthe a e pp inconsistencies a s e i cn e t s i s no cappe n i ehar t dto na have t ew ab een g n i s ua fresult o tl u s of er ausing n e e ba ewet va h pen rather . bi n than n e p aa npen a h t nib r eh. ta r n e p
BLACKLETTER
SCRIPT
There aretnmany er eff i ddifferent yn a m er a er eh T classifications h s u rB g n i including d ulcn i s no iBrush ta c if i s s a lc Script, dn aEnglish dn a h dnRoundhand uoR h s i lg n Eand , t pi r cS Rationalized eh t ,r evewoH Script. . t pi r cHowever, S d ez i l a nthe o i taR broadest no i ta cforms if i s s a lcoffoclassification s m r of t s edaor b are Formal l a u s aC Script dn a t pand i r cS Casual l a m r oF er a Script. . t pi r cS
Etruscan eva hfaces ton odo d snot e cafhave n a c s u r tE lowercase d e s a b eletters r a dn a and s r e t tare e l ebs aased c r ewo l on an neaarly m oRform fo mofr ofRoman ylr a e n a no calligraphy h s u r b eh tinhcwhich i hw n the i yhbrush pa r g i l l a c waseh held T . e at lg naa steep pe e t s angle. a ta dlThe eh s a w Celticerstyle, a s r e tUncial t e l l a i cletters nU , e ly are t s c i tl e C cre ta h ated s u r bfrom eh t gholding n i dlo h m the orfbrush d e ta eratc an er ehalmost T . e lg nhorizontal a l a tnoz i r oangle. h t s o mThere la na ,is s nonly g i s ed one l a i ccase nU nin i e sUncial a c eno designs, yl no s i although eh t e m they o c edid b d ibdecome yeh t hthe g u o h tl a b asis eh t for fo tthe n e mdevelopment po l eved eh t rof of the sisa b roman lower case. . e s a c r ewo l n a m or
GEOMETRIC
Geometric s a , s e cafe psans-serif y t f i r e s-s ntypefaces, a s c i r t e m oas eG their no dname e s a b eirmplies, a , s e i lpm are i ebmased a n r ion eh t geometric sesac em forms. o s nI In . s msome r of c icases r t e mo eg letters, ,’ o ‘ e s asuch c r ewas o l the eh t lower s a hc ucase s , s r e‘o’, ttel are perfect . s m r ofgeometric c i r t e m o e gforms t c ef r e p er a Example: Futura. .a r u t uF :el p m axE
OLD STYLE
The Oldt s iStyle n a m uor H Humanist r o e l y tS dlO eh T serif eh ttypefaces n i d e po l edeveloped ved s e cafe p iny tthe f i re s 15therand a dn16th a s ecenturies i r u tn e c h tand 6 1 dnare a h t5 1 characterized t s a r tno c woby l a ay blow d ezcontrast i r e t ca r a h c in . sf i rstroke e s d e lgweight n a dn aand th gangled iew ekorserifs. ts n i Example: Garamond. . d no m a r aG :el p m axE
Their was much development of sans-serif typefaces in Germany as a revolt against the ornate lettering of the popular Blackletter styles which led to sans-serif typefaces b ased on the purity of geometric forms. Much like serifed typefaces, there are many different classifications for sans- serif typefaces, including Gothic, Grotesque, Doric, Line ar, Swiss and Geometric. Some of the broader classifications are listed b elow.
SERIF
JUST EXACTLY LIKE WHAT IS SOUNDS, A SANSSERIF TYPEFACE IS A TYPEFACE WITHOUT SERIFS. THEY CAN BE FOUND IN HISTORY AS EARLY AS THE 5TH CENTURY, ALTHOUGH THE CLASSICAL REVIVAL OF THE ITALIAN RENAISSANCE RETURN TO OLD STYLE SERIFED TYPEFACES MADE THEM VIRTUALLY OBSOLETE UNTIL THE 20TH CENTURY.
TRANSITIONAL
HUMANIST
Humanist ed ulcn i scharacteristics c i t s i r e t ca r a hc tinclude s i n a m uH proportions no d e l ed o m that er ewwere ta h t modeled s no i t r o poon rp old style s ekortypefaces, t s n e po , s eopen cafe p strokes y t el yt s d l o and n i at s aslightly r tno c rhigher eh g i h ycontrast lth g i ls a in dn a strokes r eh tin o ocomparison t no s i r a pm oto c nother i s ekor t s sans-serif typefaces. . s e cafe p y t f i r e s-s n a s Example: Gill Sans. . s n a S l l iG :el p m axE
Closely related eh to t o the t d e ta l er yl e s o l C characteristics l a no i t i s n aof r t ftransitional o sc i t s i r e t ca r a h c serifed s e cafe p typefaces, y t e s eh t , these s e cafe p typefaces y t d ef i r e s include dn a s iaxamore th g i rupright p u er o maxis a edand ulcn i a uniform stroke. . ekor t s m r of i n u a Example: Helvetica. .a c i t evl eH :el p m axE
SANS SERIF
Their aretnmany e r eff i ddifferent yn a m e r a r ieh T classifications d ef i r efor s r oserifed f s n o i ta c i f i s s a l c typefaces, their r ieh t r of often d e m a nnamed n e tfo for , s e ca fe p y t origins, ,n i taL ,nincludin a i c e rG g nGrecian, i d ulcn i , sLatin, n i gi ro Scotch h c,nScotch e rF ,n r eModern, d oM h ctFrench o cS , h ct o cS Old Style, , e l y tSSpanish dlO h s i Old n a p SStyle, , e l y tS dlO Clarendon fo e m o S and .n a c s Tuscan. uT d n a Some no d n e rof al C these e b oclassifications sl a n a c s no i tacan c if i s salso a lc ebseeh t placed s no i ta c iinto f i s s ablcroader r e dao rclassifications b o tn i d e ca lp of typeography h t g n i d uincludin lcn i yh pg a r the go p y t fo styles b elow. .wo l e b s e l y t s
Modern serifed s e cafe ptypefaces y t d ef i r e s n r ed oM developed dn a h tin 8 1 the e ta l late eh t 18th n i d eand po l eved e arlya 1 e9th r ewcentury dn a y r u and tn e cwere h t9 1 aylr a e radical l a no i t i dbre a r t ak eh tfrom m orfthe k a etraditional r b l a c i da r typography hti w e m ofi tthe eh ttifme o yh with pa r go p y t high th g icontrast a r t s , s ekoof r t sstrokes, fo t s a rstraight tno c h g i h serifs . s i xaand l a c i tar etotally v yl l a tovertical t a dn aaxis. sf i r e s Example: Bodoni. .i no d oB :el p m axE
TRANSITIONAL
MODERN
EGYPTIAN
Egyptian, s e cafe p y t or , d efslab-serifed, i r e s-ba ls r o typefaces ,n a i t p y g E have d e s uheeavy r ew serifs dn a sfand i r e s were y va ehused eva h for decorative dn a s e s opurposes p r u p evi tand a r o c ed r of he adlines y va ebhecause eh t e s uthe a c ehe b avy s e n i l da eh serifs l l a m si mpeded ta y t i l i bilegib g e l dility ed e pat m ismall sf i r e s point. l lsizes. ew kc oExample: R :el p m axRockwell E . s ez i s t. n io p
SERIFED TYPEFACES WERE POPULAR MUCH EARLIER THAN SANS-SERIF TYPEFACES AND INCLUDE SEMI-STRUCTURAL DETAILS ON MANY OF THE LETTERS. PEOPLE OFTEN REFER TO THEM AS FEET, ALTHOUGH THAT IS IN NO WAY A PROPER ANATOMICAL TERM WHEN REFERRING TO TYPOGRAPHY.
The n e bridge ew t e b pfor ag the eh t gap r of ebgetween d i r b eh T Old Style d ef i r eand s n rModern ed oM dnserifed a e l y tS dlO typefaces, s a h e p y Transitional t l a no i t i s n a r Ttype , s e cahas fe p y t a rmore e p r a h vertical s dn a s i xaxis a l a cand i t r evsharper er o m a serifs than . s m r ohumanist f t s i n a m uforms. h n a h t sf i r e s Example: Baskerville. . e l l i v r eks a B :el p m axE
PIXEL FONTS DEVELOPED FROM THE INVENTION OF THE COMPUTER AND WERE BASED ON THE ON-SCREEN DISPLAY FORMAT OF PIXELS. Whi lef iserifed r e s-s n a sand d n asans-serif d ef i r e s e l i hW typefaces d e s ucan e b often n e tfo bn ea cused s e cafe p y t for text e r a etypesettin r eh t , g n i t g, t e sthere e p y t tare xe t r of a vastd nmajority a s tnof fof o yfonts t i r o jaand m t s av a typefaces s e n a w y t iwhose l i b i g e l legib e s o hiw litys e cwanes afe p y t when tused n io p in r e l smal l a m s ler n i pdoint e s u n ehw sizes. n e tfThese o e r a stypefaces e cafe p y t eare s eh often T . s ez i s developed n i e s u c ifwith i c e ps aa specific h t i w d euse po l ein ve d mind r e gr a l and r of dare e n gdesig i s e d ned e r a dfor n a larger dn i m p oint size , s e n iuse l da eh in nhe i eadlines, s u ez i s t n i o p pevosters i ta r o c eand D . sbdirlalbo oards. bl l i b dDecorative na s re t s o p is less d nof a nao iclassification ta c if i s s a lc a fand o ssel si can include y t e i r aav wide e d i w variety a e d ulcn i n a c of typefaces eh t h ta eunderne n r e d n u ath s e cathe fe p y t fo umb rel la of .m ther e tterm. eh t fo a l l e r bm u
DECORATIVE
PIXELS
They fo are ya r r ba ased n a non o dan e s a array b er a of yeh T pixels, pa m are t iB often d e l l a ccalled n e tfo Bitmap e r a , sl ex ip fonts yl no and d en gare i s edoften n e tfodesigned er a dn a only s tnof for aynspecific aM . ez i spoint tn io psize. c if i cMany e ps a r of type fo nofoundries i t c e l e s a roffer effo sae i rselection dn uof e pof yt bsitmap tnoF ekfonts i l , e mand o s dsome, n a s tnlike of paFonts m ti b For Flash pa m tcre i b ate yl noonly e ta ebritmap c h s a l F r oF fonts. . s tnof
“NOW GO DESIGN SOMETING”. -SØREN HORNUM
Bibliography
NOT FINIS
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