Typography ART051
Michael Lopez
Contents In the Shadows..........................................4 Formal Qualaties of a Letterform.............14 Expressive Type...................................... 32 Grids.........................................................48 Type Classification Posters......................74
In the Shadows: Hidden Typography
In the Shadows: Hidden Typography
We posed in front of lights to create shadows in the form of let ters. I decided to spell my last name because Lopez isn’t commonly found in the Midwest region.
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I combined all the photos onto an InDesign document and then I printed it out. Once I printed it out, I used a Sharpie to ink the shadows. I wanted to stay true to the original shadow form, so I decided to keep the human characteristics of the inked shadow form rather than refining the form to create a clean typeface.
In the Shadows: Hidden Typography
Once I had the shadows all inked with Sharpie, I used an xacto knife to cut the figures out. I can’t draw so I used the forms as stencils which I will used to trace to create the final work. Also, having the shadow letters cut out, it was easy to change the kerning on the paper.
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In the Shadows: Hidden Typography
We had to have variety with our final name forms. Other students were creating variety with they type, but like I said, I wanted to keep the originality of the shadow form. So instead of altering the typefaces, I created variety in the presentation. I had a lot of fun with the spray paint. There is also something beautiful and elegant about the gold that I find appealing. I would have to say the bottom three are my favorites.
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We then had to chose a final form out our options and scan it into the computer. We had to label the parts of our letters that we created. This lesson was a way to learn the anatomy of letters. This comes in handy in a typography class because in order to create beautiful typographic designs, one must first understand the anatomy and structure of letters.
In the Shadows: Hidden Typography
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Formal Qualities of a Letterform
j jj
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j jj
j jj
JJ
JJ
J J
J
JJJ
J
J
J
JJ
J
J
J J
J J
J
JJ
JJ
JJJ J J J
J
jj
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j jj
jj
J J JJ JJ
J JJ
j
j jj
Emily Walton
j
Formal Qualities of a Letterform
J
J
JJ
j j j
JJ
j
J
j j
JJ
J JJ
J
jjjj
J
jj
J J
J
J
J
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j j J
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jj jj
J J J
J J
J
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J
J
Michael Lopez
Formal Qualities of a Letterform
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Michael Lopez
Emily Walton
JJJ
JJJ J J J
J
J J
J J
Formal Qualities of a Letterform
J J J
J
J J
J J
We first started by creating thirty letterforms each. From the thirty we had to pick our top three for class critique. During class critique, the class picked the best from the top three selection from all the students and put those letterforms in a pile. Students then got in pairs and picked a letterform from the pile to create a 3d typographic form. The letterform shown above is the letterform we chose to turn into a 3d figure. Coincidently, it was also one of Emily’s top three.
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With the letterform chosen, the process to create a 3d typographic figure begins. All is documented here from sketches, maquettes, material testing, failed attempts, and color inspiration.
Formal Qualities of a Letterform
After we sketched our ideas on how we were going to make our 3d form, we started building our maquettes. Cutting a detailed J out of cardboard was harder than cutting a J in a cleaner and sharper font like Helvetica because of the curvers.
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We made many maquettes - more than documented. Reason being, having two different opinions and mindsets, we kept changing our ideas. We even changed our ideas past our own sketches. When we thought we had our final maquette, one of us had a different idea which led to discussion. A lot of compromise had to be made as partners to decide on different ways to approach an idea.
Formal Qualities of a Letterform
After finally picking a maquette to work with, we started to make a smaller scaled model of our idea in foamboard - the material we would be using. Even at this stage we changed our idea of how our final 3d form would look like.
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Once we finalized our idea (found in the bottom left corner of the photo), we had to pick our colors. We both agreed that the J we were working with had a regal quality about it and therefore demanded to have its vibe emphasized through color. We picked some colored paper to function as swatches. From there, we played with different combinations to see what we liked and what had a regal vibe to match the function of the J.
Formal Qualities of a Letterform
We collectively decided to remove the light blue, red, and beige colors as they did not communicate what we were looking for. We were then torn between the two color combinations below. The blue and gray had a modern elegance about it and the purple and silver had a royal elegance. We then had to decide what type of regal feel we wanted to use for our J and our 3d figure.
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We decided that the blue and gray was too similar to a boy’s bedroom color scheme and we vetoed that combination. However, another color was found in the colored paper (color on the left side) which was introduced to the silver and it looked beautiful together. The silver was staying, but what color would be paired with the silver was the question. Eventually we decided to go with the purple and silver combination.
Formal Qualities of a Letterform
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We decided that we were going to color our final 3d form using spray paint. We decided to switch the silver from our color palate with gold because we felt it was more fancy and royal than silver. However, at the art store, we found a lot of nice colors that looked good with the gold chrome and we found ourself starting over with our color selections. Although, in the end of our deliberation, we stayed true to our original color scheme.
Formal Qualities of a Letterform
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Expressive: Type with Meaning
After I sketched my ideas, I went on Google for some inspiration. I first googled expressive type (image on top), then I remembered about a show on PBS Kids called Word World so I googled that (image on bottom). Each image shows a different way to go about this project. I like the tops style. I like keeping the originality of the word and letterforms but still expressing the meaning with simple type manipulation and juxtaposition. I wanted to keep that style in my execution.
Expressive: Type with Meaning
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We had to select three words from a list and manipulate the text to express the meaning or idea of the word. I chose the words: automobile, invisible, and launch. We had to sketch out our ideas on how we were going to illustrate the word to express its meaning. We had to create 20 sketches for each word and then pick a sketch for each image and create 10 more for each sketch chosen for each word.
Expressive: Type with Meaning
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I started illustrating my words in Illustrator. For automobile, I tilted the text so it shows movement. The thing that I thought more about were the wheels (o’s). I was debiting how low I should place them below the baseline. I also flipped the wheels to tilt in the opposite direction. Doing this, I feel that I accomplished in illustrating that the word was moving toward the left. A final element I though about were the lines. I didn’t know whether to keep them or not. I feel that the word was still effective without the line, but I liked the aesthetic look so I kept them; I felt that it gave it a more animated feel which I translated as movement.
Expressive: Type with Meaning
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For invisible, I wanted to play with gradients and trying to turn the word invisible. I also illustrated my idea of outlining the word with dashes. I didn’t like the outlined idea as much as the gradient idea. Once I decided to go with the gradient idea, I played with the direction of the gradient. I had the gradient go from top to bottom and from left to right. Ultimately I went with the gradient going left to right. I liked that the word looks like it’s turning invisible and by the time you get to the e, it’s invisible.
Expressive: Type with Meaning
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For the word launch, I wanted the h to look like it was launching off of the word. I used v’s to make the ignition fire that would come out from the h. After that, I played with the juxtopostion of the h. I decided to go with the h closer to the word, because I felt the h away from the word looked like the h was already launched.
Expressive: Type with Meaning
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Expressive: Type with Meaning
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Expressive: Type with Meaning
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Grid Exercise: Swiss Miss
Layout 1 Common Typographic Diseases Various forms of dysfunction appear among populations exposed to typography for long periods of time. Listed here are a number of frequently observed afflictions.
Typophilia An excessive attachment to and fascination with the shape of letters, often to the exclusion of other interests and object choices. Typophiliacs usually die penniless and alone.
Typophobia The irrational dislike of letterforms, often marked by a preference for icons, dingbats, and—in fatal cases—bullets and daggers. The fears of the typophobe can often be quieted (but not cured) by steady doses of Helvetica and Times Roman.
Typochondria A persistent anxiety that one has selected the wrong typeface. This condition is often paired with okd (optical kerning disorder), the need to constantly adjust and readjust the spaces between letters.
Typothermia The promiscuous refusal to make a lifelong commitment to a single typeface—or even to five or six, as some doctors recommend. The typothermiac is constantly tempted to test drive “hot” new fonts, often without a proper license.
Grid Exercise: Swiss Miss
Common Typographic Diseases Various forms of dysfunction appear among populations exposed to typography for long periods of time. Listed here are a number of frequently observed afflictions.
Typophilia An excessive attachment to and fascination with the shape of letters, often to the exclusion of other interests and object choices. Typophiliacs usually die penniless and alone.
Typophobia The irrational dislike of letterforms, often marked by a preference for icons, dingbats, and—in fatal cases—bullets and daggers. The fears of the typophobe can often be quieted (but not cured) by steady doses of Helvetica and Times Roman.
Typochondria A persistent anxiety that one has selected the wrong typeface. This condition is often paired with okd (optical kerning disorder), the need to constantly adjust and readjust the spaces between letters.
Typothermia The promiscuous refusal to make a lifelong commitment to a single typeface—or even to five or six, as some doctors recommend. The typothermiac is constantly tempted to test drive “hot” new fonts, often without a proper license.
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Common Typographic Diseases Various forms of dysfunction appear among populations exposed to typography for long periods of time. Listed here are a number of frequently observed afflictions.
Typophilia An excessive attachment to and fascination with the shape of letters, often to the exclusion of other interests and object choices. Typophiliacs usually die penniless and alone.
Typophobia The irrational dislike of letterforms, often marked by a preference for icons, dingbats, and—in fatal cases—bullets and daggers. The fears of the typophobe can often be quieted (but not cured) by steady doses of Helvetica and Times Roman.
Typochondria A persistent anxiety that one has selected the wrong typeface. This condition is often paired with okd (optical kerning disorder), the need to constantly adjust and readjust the spaces between letters.
Typothermia The promiscuous refusal to make a lifelong commitment to a single typeface—or even to five or six, as some doctors recommend. The typothermiac is constantly tempted to test drive “hot” new fonts, often without a proper license.
Grid Exercise: Swiss Miss
Common Typographic Diseases Various forms of dysfunction appear among populations exposed to typography for long periods of time. Listed here are a number of frequently observed afflictions.
Typophilia An excessive attachment to and fascination with the shape of letters, often to the exclusion of other interests and object choices. Typophiliacs usually die penniless and alone.
Typophobia The irrational dislike of letterforms, often marked by a preference for icons, dingbats, and—in fatal cases—bullets and daggers. The fears of the typophobe can often be quieted (but not cured) by steady doses of Helvetica and Times Roman.
Typochondria A persistent anxiety that one has selected the wrong typeface. This condition is often paired with okd (optical kerning disorder), the need to constantly adjust and readjust the spaces between letters.
Typothermia The promiscuous refusal to make a lifelong commitment to a single typeface—or even to five or six, as some doctors recommend. The typothermiac is constantly tempted to test drive “hot” new fonts, often without a proper license.
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Common Typographic Diseases Various forms of dysfunction appear among populations exposed to typography for long periods of time. Listed here are a number of frequently observed afflictions.
Typophilia An excessive attachment to and fascination with the shape of letters, often to the exclusion of other interests and object choices. Typophiliacs usually die penniless and alone.
Typophobia The irrational dislike of letterforms, often marked by a preference for icons, dingbats, and—in fatal cases—bullets and daggers. The fears of the typophobe can often be quieted (but not cured) by steady doses of Helvetica and Times Roman.
Typochondria A persistent anxiety that one has selected the wrong typeface. This condition is often paired with okd (optical kerning disorder), the need to constantly adjust and readjust the spaces between letters.
Typothermia The promiscuous refusal to make a lifelong commitment to a single typeface—or even to five or six, as some doctors recommend. The typothermiac is constantly tempted to test drive “hot” new fonts, often without a proper license.
Grid Exercise: Swiss Miss
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Layout 2 Common Typographic Diseases Various forms of dysfunction appear among populations exposed to typography for long periods of time. Listed here are a number of frequently observed afflictions.
Typophilia
Typophobia
An excessive attachment to and fascination with the shape of letters, often to the exclusion of other interests and object choices. Typophiliacs usually die penniless and alone.
The irrational dislike of letterforms, often marked by a preference for icons, dingbats, and—in fatal cases—bullets and daggers. The fears of the typophobe can often be quieted (but not cured) by steady doses of Helvetica and Times Roman.
Typochondria
Typothermia
A persistent anxiety that one has selected the wrong typeface. This condition is often paired with okd (optical kerning disorder), the need to constantly adjust and readjust the spaces between letters.
The promiscuous refusal to make a lifelong commitment to a single typeface—or even to five or six, as some doctors recommend. The typothermiac is constantly tempted to test drive “hot” new fonts, often without a proper license.
Grid Exercise: Swiss Miss
Common Typographic Diseases Various forms of dysfunction appear among populations exposed to typography for long periods of time. Listed here are a number of frequently observed afflictions.
Typophilia
Typophobia
An excessive attachment to and fascination with the shape of letters, often to the exclusion of other interests and object choices. Typophiliacs usually die penniless and alone.
The irrational dislike of letterforms, often marked by a preference for icons, dingbats, and—in fatal cases—bullets and daggers. The fears of the typophobe can often be quieted (but not cured) by steady doses of Helvetica and Times Roman.
Typochondria
Typothermia
A persistent anxiety that one has selected the wrong typeface. This condition is often paired with okd (optical kerning disorder), the need to constantly adjust and readjust the spaces between letters.
The promiscuous refusal to make a lifelong commitment to a single typeface—or even to five or six, as some doctors recommend. The typothermiac is constantly tempted to test drive “hot” new fonts, often without a proper license.
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Common Typographic Diseases Various forms of dysfunction appear among populations exposed to typography for long periods of time. Listed here are a number of frequently observed afflictions.
Typophilia
Typophobia
An excessive attachment to and fascination with the shape of letters, often to the exclusion of other interests and object choices. Typophiliacs usually die penniless and alone.
The irrational dislike of letterforms, often marked by a preference for icons, dingbats, and—in fatal cases—bullets and daggers. The fears of the typophobe can often be quieted (but not cured) by steady doses of Helvetica and Times Roman.
Typochondria
Typothermia
A persistent anxiety that one has selected the wrong typeface. This condition is often paired with okd (optical kerning disorder), the need to constantly adjust and readjust the spaces between letters.
The promiscuous refusal to make a lifelong commitment to a single typeface—or even to five or six, as some doctors recommend. The typothermiac is constantly tempted to test drive “hot” new fonts, often without a proper license.
Grid Exercise: Swiss Miss
Common Typographic Diseases Various forms of dysfunction appear among populations exposed to typography for long periods of time. Listed here are a number of frequently observed afflictions.
Typophilia
Typophobia
An excessive attachment to and fascination with the shape of letters, often to the exclusion of other interests and object choices. Typophiliacs usually die penniless and alone.
The irrational dislike of letterforms, often marked by a preference for icons, dingbats, and—in fatal cases—bullets and daggers. The fears of the typophobe can often be quieted (but not cured) by steady doses of Helvetica and Times Roman.
Typochondria
Typothermia
A persistent anxiety that one has selected the wrong typeface. This condition is often paired with okd (optical kerning disorder), the need to constantly adjust and readjust the spaces between letters.
The promiscuous refusal to make a lifelong commitment to a single typeface—or even to five or six, as some doctors recommend. The typothermiac is constantly tempted to test drive “hot” new fonts, often without a proper license.
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Common Typographic Diseases Various forms of dysfunction appear among populations exposed to typography for long periods of time. Listed here are a number of frequently observed afflictions.
Typophilia
Typophobia
An excessive attachment to and fascination with the shape of letters, often to the exclusion of other interests and object choices. Typophiliacs usually die penniless and alone.
The irrational dislike of letterforms, often marked by a preference for icons, dingbats, and—in fatal cases—bullets and daggers. The fears of the typophobe can often be quieted (but not cured) by steady doses of Helvetica and Times Roman.
Typochondria
Typothermia
A persistent anxiety that one has selected the wrong typeface. This condition is often paired with okd (optical kerning disorder), the need to constantly adjust and readjust the spaces between letters.
The promiscuous refusal to make a lifelong commitment to a single typeface—or even to five or six, as some doctors recommend. The typothermiac is constantly tempted to test drive “hot” new fonts, often without a proper license.
Grid Exercise: Swiss Miss
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Layout 3 Common Typographic Diseases Various forms of dysfunction appear among populations exposed to typography for long periods of time. Listed here are a number of frequently observed afflictions.
Typophilia
Typophobia
Typochondria
Typothermia
An excessive attachment to and fascination with the shape of letters, often to the exclusion of other interests and object choices. Typophiliacs usually die penniless and alone.
The irrational dislike of letterforms, often marked by a preference for icons, dingbats, and—in fatal cases—bullets and daggers. The fears of the typophobe can often be quieted (but not cured) by steady doses of Helvetica and Times Roman.
A persistent anxiety that one has selected the wrong typeface. This condition is often paired with okd (optical kerning disorder), the need to constantly adjust and readjust the spaces between letters.
The promiscuous refusal to make a lifelong commitment to a single typeface—or even to five or six, as some doctors recommend. The typothermiac is constantly tempted to test drive “hot” new fonts, often without a proper license.
Grid Exercise: Swiss Miss
Common Typographic Diseases Various forms of dysfunction appear among populations exposed to typography for long periods of time. Listed here are a number of frequently observed afflictions.
Typophilia
Typophobia
Typochondria
Typothermia
An excessive attachment to and fascination with the shape of letters, often to the exclusion of other interests and object choices. Typophiliacs usually die penniless and alone.
The irrational dislike of letterforms, often marked by a preference for icons, dingbats, and—in fatal cases—bullets and daggers. The fears of the typophobe can often be quieted (but not cured) by steady doses of Helvetica and Times Roman.
A persistent anxiety that one has selected the wrong typeface. This condition is often paired with okd (optical kerning disorder), the need to constantly adjust and readjust the spaces between letters.
The promiscuous refusal to make a lifelong commitment to a single typeface—or even to five or six, as some doctors recommend. The typothermiac is constantly tempted to test drive “hot” new fonts, often without a proper license.
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Common Typographic Diseases Various forms of dysfunction appear among populations exposed to typography for long periods of time. Listed here are a number of frequently observed afflictions.
Typophilia
Typophobia
Typochondria
Typothermia
An excessive attachment to and fascination with the shape of letters, often to the exclusion of other interests and object choices. Typophiliacs usually die penniless and alone.
The irrational dislike of letterforms, often marked by a preference for icons, dingbats, and—in fatal cases—bullets and daggers. The fears of the typophobe can often be quieted (but not cured) by steady doses of Helvetica and Times Roman.
A persistent anxiety that one has selected the wrong typeface. This condition is often paired with okd (optical kerning disorder), the need to constantly adjust and readjust the spaces between letters.
The promiscuous refusal to make a lifelong commitment to a single typeface—or even to five or six, as some doctors recommend. The typothermiac is constantly tempted to test drive “hot” new fonts, often without a proper license.
Grid Exercise: Swiss Miss
Common Typographic Diseases Various forms of dysfunction appear among populations exposed to typography for long periods of time. Listed here are a number of frequently observed afflictions.
Typophilia
Typophobia
Typochondria
Typothermia
An excessive attachment to and fascination with the shape of letters, often to the exclusion of other interests and object choices. Typophiliacs usually die penniless and alone.
The irrational dislike of letterforms, often marked by a preference for icons, dingbats, and—in fatal cases—bullets and daggers. The fears of the typophobe can often be quieted (but not cured) by steady doses of Helvetica and Times Roman.
A persistent anxiety that one has selected the wrong typeface. This condition is often paired with okd (optical kerning disorder), the need to constantly adjust and readjust the spaces between letters.
The promiscuous refusal to make a lifelong commitment to a single typeface—or even to five or six, as some doctors recommend. The typothermiac is constantly tempted to test drive “hot” new fonts, often without a proper license.
65
Common Typographic Diseases Various forms of dysfunction appear among populations exposed to typography for long periods of time. Listed here are a number of frequently observed afflictions.
Typophilia
Typophobia
Typochondria
Typothermia
An excessive attachment to and fascination with the shape of letters, often to the exclusion of other interests and object choices. Typophiliacs usually die penniless and alone.
The irrational dislike of letterforms, often marked by a preference for icons, dingbats, and—in fatal cases—bullets and daggers. The fears of the typophobe can often be quieted (but not cured) by steady doses of Helvetica and Times Roman.
A persistent anxiety that one has selected the wrong typeface. This condition is often paired with okd (optical kerning disorder), the need to constantly adjust and readjust the spaces between letters.
The promiscuous refusal to make a lifelong commitment to a single typeface—or even to five or six, as some doctors recommend. The typothermiac is constantly tempted to test drive “hot” new fonts, often without a proper license.
Grid Exercise: Swiss Miss
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Grids in real life
Grid Exercise: Swiss Miss
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Grid Exercise: Swiss Miss
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Grid Exercise: Swiss Miss
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Type Classification Posters
Before I started sketching my ideas for my poster, I went to Google for some inspiration. I first looked at type posters to see different creative ideas and stylistics. I then looked at different ideas and saw how other people made type classification posters. The type classification posters were very creative and were more interesting than just having everything laid out linear. Some of the posters didn’t have all the elements I was required to use, so I had to keep that in mind when looking at the type classification posters on the Internet for inspiration.
Type Classification Posters
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Once I had some ideas about how I can approach the assignment, I started sketching. We had make 25 sketches and then choose our top three. From those three, we had to pick one. We made ten more sketches based on our one sketched we picked. And from those ten sketches, we pick our final sketch to work off of. In our type classification poster, we had to include: title of family classification, a paragraph of the history of the family, a list of other types set in the respective typefaces, upper and lowercase and numerals, and a large graphic letterform.
Type Classification Posters
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Type Classification Posters
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Out of my 25 sketches, I chose four to chose from. The sketch on the top left, I liked using the braces as the large graphic and then having a piece of required information set inside. The sketch on the top right, I thought about making a collage of letters as my large graphic and then setting the rest of text in a screen. The sketch on the bottom left, I thought about using an exclamation point run from the bottom to the top and having all the text flushed aligned to the punctuation. The sketch on the bottom right, I thought about having a large ‘o’ that bleeds off the page, then I would set my paragraph and type options inside the letter.
Type Classification Posters
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I decided to go with my first sketch using the braces. I made ten sketches based on that idea of using the braces. I really liked my first sketch so I kept it, but I had some other ideas too. I thought about changing the orientation of the paper, and making the braces take up the whole document. I really liked how the braces looked large — they were beautiful. Although, I didn’t like how the there wouldn’t be enough room for the rest of the required text. In the end, I used my first sketch.
Type Classification Posters
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Garamond | Goudy Old Style | Minion Pro
Old style font was introduced in the 1600s. The font has little contrast between stem and hairline weight. It has heavily bracketed serifs that are cuffed like a foot arch and an oblique stress in the characters. Its
capital hight is shorter than the height of the lowercase ascenders. The terminals on the lowercase letters are shaped like teardrops. Old style type is an organic type to represent handwriting.
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 123456789
Type Classification Posters
Century Schoolbook | Times | MrsEaves
Transitional type was introduced in the 1700s. The font has strong thick and thin contrast in weight of stem and hairline. The serifs are ďŹ nely bracketed and the charachters almost have a vertical stress. The capital
letters are the same height as lowercase assenders. The lowercase charachters are very short and wide and almost appear extended.
Transitional 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 123456789
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Didot | Monterey | Dark Wind
Modern type was introduced in the 1800s. The font has extreme contrast of thick and thin in weight of stem and hairline. There is no bracketing of the serifs and there is a strong vertical stress. The lowercase letters
have small body height in proportion to cap height. The terminals on some letters are circular.
Modern 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 123456789
Type Classification Posters
Lucida Fax | Perpetua American Typewriter
Slab serif font was body height to lowercase introduced in the 1900s. letters. Slab serif fonts have There is little contrast of a vertical stress. thick and thin in weight of stem and hairline. There is little or no bracketing between stem and serifs. The characters have a large
Slab Serif 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 123456789
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PaciďŹ co | Outage Cut | Birds f O Paradise
Decorative font is hard to read at text size. This style of font is used as headlines or as dropcaps in paragraphs. It was ďŹ rst applied to designing books. Decorative fonts were used for posters and billboards.
It was designed to be set in a large point size. The purpose of decerative type was to attract the attention of readers.
Decorative
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 123456789
Type Classification Posters
Gill Sans | Futura | Verdana
Sans serif font was stem and hairline optically introduced in the 1950s. appear even. The terminals are squared off. The charachters have no serifs. Its large body height is in proportion to its capital height. It has little stress because weights of
Sans Serif
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 123456789
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Adobe Caslon Pro Garamond | Goudy Old Style | Minion Pro
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 . , ; : ? ! @ # $ % ^ & * ( ) [ ] ’“ ” Old style font was introduced in the 1600s. The font has little contrast between stem and hairline weight. It has heavily bracketed serifs that are cuffed like a foot arch and an oblique stress in the characters. Its capital
hight is shorter than the height of the lowercase ascenders. The terminals on the lowercase letters are shaped like teardrops. Old style type is an organic type to represent handwriting.
Type Classification Posters
Baskerville Century Schoolbook | Times | MrsEaves
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 .,;:?!@#$%^&*()[]’“”
Transitional type was introduced in the 1700s. The font has strong thick and thin contrast in weight of stem and hairline. The serifs are finely bracketed and the charachters almost have a vertical stress. The capital
letters are the same height as lowercase assenders. The lowercase charachters are very short and wide and almost appear extended.
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Bodoni Didot | Modern No. 20 | Ellington
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz .,;:?!@#$%^&*()[]’“”
Modern type was introduced in the 1800s. The font has extreme contrast of thick and thin in weight of stem and hairline. There is no bracketing of the serifs and there is a strong vertical stress. The lowercase letters
have small body height in proportion to cap height. The terminals on some letters are circular.
Type Classification Posters
Rockwell Lucida Fax | Perpetua | American Typewriter
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 . , ; : ? ! @ # $ % ^ & * ( ) [ ] ’“ ”
Slab serif font was introduced in the 1900s. There is little contrast of thick and thin in weight of stem and hairline. There is little or no bracketing between stem and serifs. The characters have a large body height to lowercase letters.
Slab serif fonts have a vertical stress.
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Lavanderia Pacifico | Outage Cut | Birds f O Paradis e
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 .,;:?!@#$%^&*()[]’“” Decorative font is hard to read at text size. This style of font is used as headlines or as dropcaps in paragraphs. It was first applied to designing books. Decorative fonts were used for posters and billboards. It was designed to be
set in a large point size. The purpose of decerative type was to attract the attention of readers.
Type Classification Posters
Helvetica Gill Sans | Futura | Verdana
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz .,;:?!@#$%^&*()[]’“”
Sans serif font was introduced in the 1950s. The terminals are squared off. The charachters have no serifs. Its large body height is in proportion to its capital height. It has little stress because weights of stem and hairline
optically appear even.
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