Typography Book

Page 1

Ty p o g r a p h y Ty p o g r a p h y Ty p o g r a p h y Ty p o g r a p h y Ty p o g r a p h y



PARE

CON

& COM


S

S Bracketed Serif

Unbracketed Serif


S

S

a projection off the main strokes of the charector of serif typefaces.

e r i f

Unbracketed Serif - attached sharply and usually as 90 째 angle. Bracketed Serif - the supportive curves that connect the serif to the stroke.

Rockwell has unbracketed serif, while Times New Roman has bracketed serif that makes typeface has softer look.


Sans Serifs


o w l

B o

l

Spine

B

w l

w B o

Arial Narrow, Verdana, and Lithos Pro are sans serif typefaces. The differences that they have are the curves at the bowls. Arial Narrow bowls are curve up, while Verdana bowls are flat out, and Lithos Pro almost doesn’t create the bowls. Another difference is the spine angle.

Helvetica and Verdana look very similar, but Helvetica has line at the terminal parallel with the capline, while Verdana’s is 90 ° angle.


Times New Roman has spur.

Garamond doesn’t have spur.

Spur - a projection that extends off of a letter form.


Bowl - an enclosed space within a typeface.

Riesling show the form of a bowl

Braggadocio on the other hand has no bowl present.


troke S


Baskerville has several styles. The difference in Regular, Semi bold, and Bold is the Stroke thickness. Stroke - the main diagonal portion of a letter form.

Medium

stroke contrast

contrast

High stroke

S Mono Line

Modern#20 show the hairline perfectly compared to Garamond that doesn’t have as high stroke contrast as Modern#20, and Rockwell that doesn’t have any hairline due to the strokes are the same weight. Hairline - the thinnest stroke within a typeface that has strokes of varying weights.


SSS left-angled

vertical

right-angled

Modern#20 (regular), Georgia (regular), and Baskerville(italic) have difference stress Stress - a prominent visual axis resulting from the relationships between thick and thin strokes.


5 5 S

S

Oliver’s Barney and Handwriting-Dakota at 225pt look totally difference. Oliver’s Barney has very thick line, while Handwriting-Dakota has thinner line and look like hand writen type. However both typefaces look like number 5.


Ss Ss Capline - the height of an uppercase letter.

x-height - the height of a lowercase letter. Impact and Haettenschweiler at 175pt show a distinct difference in their capline and x-height. Impact is much taller and wider compared to Haettenschweiler.


S SS S S S S The typefaces have distinct width differences from ultra condensed to ultra expanded. As you can see, Bernard MT Condensed, Gloucester MT Extra Condensed, Georgia, Rockwell Extra Bold, Engravers MT, Wide Latin, and Blackoak Std at 48 pt and regular style. They show width differences and capline differences.


Swash - a fancy projection that replaces a serif or terminal.

S

The swash is keeping Chophin Script in balance.


Modern#20 and Adobe Myungjo Std at 150pt show distinct differences at their serifs angle and the thickness line.


Ge orgia

Ss

Ss

Ss

Ss

Ss Ss

Ss

Ss

Baskerville

Ss Ss

Baskerville and Georgia typefaces have several styles. The difference that can see between uppercase and lowercase is when the typeface is in Italic style. The uppercase has spur at the terminals, while the lowercase has round shape at the terminals


Times New Roman, Georgia, and Baskerville look very similar, but they show the distinct difference at the serif.




Q

?

Q+?


Bauhas 93 Bauhas 93 typeface has mono stroke. By combining letter “Q” and “?”, the two letters still create a shape of letter “Q”, and also create a form of a hook.


By combining number “4” in Bauhaus 93 with lowercase “f ” in Harrington, the letters are still legibility.


f 4



Unity and consistency in the letterforms within American typewriter typeface. By combining lowercase “i” and uppercase “E”, the letters are still legibility.


Braggadocio is a geometric typeface. By combining the same typeface with uppercase “O” and lowercase “f ”, the two letters are legibility and could be used as a logo.


f O


6g


Lowercase “g” in Gill Sans got cut the bottom off and be combined with number “6” in Poplar Std Black, the letter is still legibility and also create a nice space in number “6”.


By combining number “6” in Poplar Std Black with lowercase “g” in Gill Sans, they created an interesting shape.


6g



Here is uppercase“Q” and “P” from Riesling typeface. By combining this two letters together, the tail from letter “Q” makes “P” looks like uppercase “R”.


By combining uppercase “Q” and lowercase “i” in Sophia typeface, they can create an abstract shape.


I

q



Typograhic Syntax : the process of arranging elements into a cohesive whole.








G G

r r

i i


i i

d d

s s


aM tur (Fu

tiet he S t t. tex tes to ump e ib u es h s t trib d r ntr as res con an at co gs er. p n g i t p h w n t d f e on o tha ni m o n ea ti s t rm egi for f h no tten text o d a as it tle a fo h b in a s n l c a e e he s in ea ings . ere lev re am em tt e k wh don y mo e s et th mi ning ar ead hol n r s h s a k an ion pe pe n. M et h e w m no th t nd ea i a br . Ab enat r ve n’t d o sig . S f th as d: d e nee es wtext, d Do s an ll de text le o e s te yph se 8/9) l at tle era the sty 8/9) Uyou tab the en rrup of h ail to Medium h f e v e . f p ra it to o n o th ium hy int les at (Futu Ed ven read tio es to Med id t is ll ru n th ext. i e o t g x s t v t a b u tura A te d atio he la to the the y an agin of t (Fu th ph. i an d p eds a w e agr an ne g r pa pa the a e in i-lin g t e ul rb ve a m nNe e of co s. lin ium ed

8/

9)

an th h re wit 0) mo es k 8/1 g n in e li l Boo e nn gi tiv (Kab be cu d. id nse wor vo o A o c me tw e sa th

a

ed

aM tur (Fu

ee line hr t d ly on an ate s ccur h e t n m o n na ey mo re phe er ss th com g to o p y . o m pr unle of rdin ge d e h 1/13) i te or t ncy cco ngua a 1 a la es ue en vo iv ph st r eq ate he A cut Book Hy a la e fr hen of t s th yp ns se el ium

H tio th wi uns. ven no con the

ab

(K

) 10

8/


tica

lve

(He

of tion ge. a rm ta nfo fing s you he o t c oo r pe its r nd t a ery p e pa at su h as ell eig t ev uit th er th w w a s at s pap as the sk ck erform es th , or . a ver t e e h n e t ate h •C e let e fac rint o to us uit th w th oos o p ish ts ish a n t h r h w u •C tend you es t nf ca uire. se in es ac f t e. fac oose ject. s tha u req hoo e tag s c f th t. h ub ace yo n , a C s v hoe e tex • e s e f cts o e d c r a th oos effe fa ette th . ec st l l h ss be rical with diom e •C pecia rpre the i y o h s te ll as o t hist rmon tural t and t t e e s i a l i re hos in ha its n l spir . of s we e s t w h a a t n e n at face s ar eak i ividu e tex tio pirit h a t n th s p sp ind e w a tio da the Us oose ocia e to ose with a • l o h s g c h s ita l t •C nd a he fa es w eepin dig ithfu t k a g a f c sin are fa llow ose r is in u A • te ho en at 3) •C harac Wh ts th igns. ld 11/1 c n o s ue

Ne

2)

0/1

t1

igh

raL

Ult

fo de CY B old lvetica (He


d

c an

li , ita

ll sma

s.

cap

M

for

for

nal

v ob ld 8/ hetraBo t e x

the

o t a the an ) tha ape ces f the 8/10 r o n h a S ala pe gul it b sha a Re c the lveti e

(H

ts. /12) lis Bold 10 ng d Extra ati dense ctu ra Con un (Futu

el

(H

p er ov

de

ea

t

s ure

g f fi s o the n m on er th olu or d c ight nd o ious nts. n r n a a xt mo nme sh sts t li n flu or te har alig e S alig l. F se lar ) o to cima cho tabu 8/10 r de tter, ible gula ma d leg a Re c an veti

ces spa the nd using t ea u typ lock s, b the type b ement s to n us t r Adj in the c inc ortio .

rk

Ma

r the

o . D tur ay (Fu w r’s

ng Bri

d he t o on 13) int ins. s e c mns 11/ t i r n v g i r in colu e. ula eg arg ma t to it in wid tR m n e c a e et han at pa he to th s m ng, s ller t so th ith (Im ng t i n t i i w . e tex ad y ta ck ts Bri sign he us re learl e blo ntras l pag t . f l e I uo s ) d c p o a u r y c t re io 10 d in ve

t E sta ed rendens t n’ o aC

n.

ig es

oid Av

bo su le t vise, o sca lar mpr odu e. I vise a m e pag impro th d

i e p h an 0) ide wit graph e pro y spac /10) 7/1 div ulate, e. po fr e ium ple pt ium 8 r y d t n m calc e mo sup e Me ly o the e sed Med sed n m e g o r i h s den som e en ust d Con ble dium adj ra Cond ge liva e tura a a p tu (Fu igiem e (Fu the provid der th as or i w p to ce ons Kee ugh text. C typefa eno the h the . c whi signed e ly d

Use

e

ond

ra C

tu (Fu

d nse

e

e th

n forc ily. roma ein r m t a f tha ic f yo aph tegrit erits. faces r g lay ypo e in n m le t ect th ir ow d disp ce. g n e i n a s Resp on th ing a ext fa ith s itl et w t r face oose t of th d Sta l e Ch ctur r bo side str1u0/12) n o C um edi


To the marr iage of typ e and text, both partie s bring the ir cultural presumptio ns, dreams and family obligations . Accept th e m . Don’t use a font you don’t need . (Futura Med iu

14)

a scale.

your lib r

aces slo wly and ondense

d ExtraB

well.

old 11/

14)

m 10/14)

Choose

(Futura Med iu Consider th m 8/10) e pr typeface be oportions of the page fore choosi and propor ng a size se ti t within a st ons of the your lib andard. rary

o

10/12)

f faces s • Elimin lowly a (Futura ate other nd we Conden unnecess • Hang q . ary punc sed ExtraBold 11/1ll uotation 4) tu marks w ation. • Follow hen need the work ed. to the pr • Check inter. the type a t every s • Consult tage. the ance stors.

d Regular (Garamon

d ExtraB

mpose

ondense (Futura C

Don’t co

ary of f

(Futura C

without

old 10/

Choose


e,

y

et

th its

ac pef

eg dR

r ula

)

12

9/

eir

th 8 on of old or c y t B i . tra hon ign g it Ex

n ow

o d d d nin st se an esig en xist e f d i e l C re y ra aph e a befo 11) u v t r y. t 9/ ha (Fu pog or /13) rs e tex gular t e s Ty t e t a 11 Le ad thond R e ram of xtraBold t R a h a h (G ot ap sed E d on

st fir

gr en ra ra Cond a u p t (Fu

s aph agr ast par t le e all f a leav ark nt o ds, ake t, m nde en d t he tex an i line d an ing t y d n n v us h t i ate ehi lea r a uo tin rst w phen rs b oid rd, o he t te Av o y con fi In er the At h harac ard. ted w rs, as . aft e em two c forw hena lette yp our . ee on st f lea thr a h at east of than raph d l g at b-en orter para stu rd sh of a wo t line las

the up y in a gro h g rap or xt. din ramon ypog face he te k s ea e r al ic l (Ga he t ype of t loc ry bas sure. c of t se a t acter text b t, eve logic a e ry gi oo ar ea en se oo nd m ter lo t. Ch e ch me th elem d eve ) h x C ta he ou te r th fra ry , an 9/11 tt n tex er the of the hono e and ls eve ents gular e m ll a v e ind co logic at wi e pag reve n ele act R s t i D er o th nd ee Imp th on inn aces hape ors a betw ext. ( D f S on hip e t of it h ions of th lat ance nu

tha

t su

.

t. ten

) /9

r ula

nd

(G

a

o ram

g Re

)

11

9/


12 s to 7/ ute lar gu l disp h Re a c nd phic spee mo gra of po and ara r ts gly (G fer ty r cou rin ore e e ) m spa •R . igh 11 h ing ans 8/ ans m the m nk lar Ro thi Ro gu on and ped oped Re ces . a l slo f e nd r u se y s if mo •U uct iall ser l. ara str ific stil her an (G art rat ds ner gly n a to rin r in i f i e spa hes ens h ser ft das h air is o en hyp •P bas d or ace the p hes s das se . •U em rases n tha ff ph o set

d an ly s e r al gu actu fi t tex aces . e f s m o u oose the t h h t h i is c u w aps, be w o y If all c ed to /13) sm sign gular 11 de act Re

een etw

dig

-

ue. log . a i d n tio ive x em rat frac erif tor a e a s n e s r a n a i th l n ers era or han tio es eak num her t h p s ota s t a . a u a e d r q c en nge odu then sign of et a r use nd ion e-s te a r o int a s e s o h / t t n a cl dic se ash ral a ime ize im ces. y. • U to in em d ume e a d en. n i a og its the l a n . Us re giv nt. M nce f o e e n s a n sa fo us • U on’t ractio ions the nais ch e e t s f t D R fi n a e t • h ith se im tha • U hen d pses ally w hig e i i l c w el spe th se e as l • U arks, l m we es

)

(I

mp

k

o • Lo

r th11/13)

e aft

lar

gu

e tR

c

pa

(Im

ow el

s

-a

h das

b


Hiera Hiera Hiera Hiera Hiera


archy archy archy archy archy


I OT N O D D E N ry. sto ll a a f ho ark ith rap t, m g t w . ra x pa s te e firs em t s ne ou er th fir o u ve e n i t t t f s th lea d con hs a t lea nds, p hin a In e e s be rd. gra t of n a i r l r te pa nden wa a ted rac i for f na an yphe o cha three nd o t h w -e t ord s t b a t w u A y as t le he st n e l a he a st at or gt ake , a oid k, s d t eavin r r n o a l tte Av w oid ated our le raph. utive v A f n c he an parag onse nate hyp ter th c e a f p r e y h t ree sho line o thr s. H las e n t s a ith th line tha las a y l d w re n e r t . o m cu so ns na ou he me ey oc nn hyp er na h o t m s p pro unles f com o t r y c so en qu fre


Don’t compose without a scale Consider the proportions of the page and proportions of the typeface before choosing a size set within a standard.


Bring Mark the reader’s way. Don’t restate the obvious. Use a modular the scale to subdivide the page. Imcalculate, and improvise margins provise, some more. Adjust the type and the spaces within the type block into using typographic increments, but rely on free proportions to the adjust the empty space. Keep Bring page design supple enough design. the to provide a livable home for the the text. Consider the medium for which the typeface was originally design designed. When using digital adaptations of letterpress faces, into choose fonts that are faithful to the spirit as well as the letter of the the old designs. margins.


t

use font you

don ’t ne ed. sub ject .

ell a s

face s th

at s uit t h

as w

Choo se

the

Don’

Use s tificia loped Ro lly sl man o s still. If yo ped Rom sparing ly u wis ans sma ll ca more and arh to p u s signe s s , d to choose e text fig paringly othe u b f res a a e ces w r legib matter, ith them actually nd ch . le d mea tabular oose ha For text ent to align rmon and men invite it in ious ts. co a c wide lumns th ontinuou If the te nd . Sha xt is s rea at ar p e ance ding , se s an e the typ clearly t e d a the o b l l c er th t l ontra ock s vera an o ll pag sts wi th th that it ba e. le sh ape of

e ta sk


o

t s t s

nd

fe a

dig

eir

f th

yo

nit

ty he t. t f co tex ogi f the l r ute ic o e o er log h t er nn cov the i s i D in hy rap

te fa pa rs a etw o p b of the type i n h o s e h nce s th tion rela al nua t suit a ic log ing th d lea sure. a me

a li

pog

ave

sh

ter

Let

se xi hoo ill e C it. at w y t. ing th h n g the si aces p e pe d a n f it a h e r e for up of xt. S hat y t e t g b e o t o con the text or a gror of the block s nt, everery p y e v te xt ad e T r Re pefac harac the te y elem and e asic o r c , y n a t r the frame ls eve ments se a b and o o o a e h hon and reve en el t. Cho , text d e x ge n ce

n. ow


ord

ph

e f th n o s to ptio ute of um trib ls res t con y leve wer. and tha an o fe the rm s m d n to d ng nni a fo se a re an given Avoi s egi in . o U n n h b ings ole. o m ntio read lum l. eac ad wh ed: n atte be d co cima n rk t he e e o e e Ma t. Se of th ou n sam text t ists a the d y tex style s as th the as Set l r on the ding es wi them lists. ight o hea it tabl set ting lush r d Ed t, an nctua lign f tex r pu s to a ove igure of f

u te a sec ep ena e the n n h i o l p e v ier oc f hy er ult tw wh s o il to s m e n s l a ru t fa ak tha of all re bre ne i o nd n tha l d a t m t. ate las tex ng any inatio xt. i n e n e n o pag e te th he th gin h and yp ss ith be h e w r Ab and s of t p ge oid op tion need pa Av to a e s th gin itle be et h t it rm pe

D I O ER V A EV ’T N DON

. ra rag t is xt

int w es in el tiv

ted

. up err

sa he t ith

. w me



Found Type



4

7 11

1

5

2 3

6

8 9

12

10 13

1. F • Mills Ave. 9. HOOK • On a bus 2. U • Millennia 10. W • Mills Ave. 3. O • Millennia 11. X • Millennia 4. J • Millennia 12. Y • Millennia 5. T • On a bus 13. D • Mills Ave. 6. K • Mills Ave. 7. Hand Writing • Mills Ave. 8. Hand Writing • Fairbanks Ave.

15

16 17

14

23 20

19 18

21

22

24

25

14. L • Mills Ave. 15. I • Webster Ave. 16. E • Denning Dr. 17. Y • Denning Dr. 18. A • Lee Rd. 19. H • Denning Dr. 20. O • A doll 21. 8 • Aqua at Millennia

22. U • Winter Park 23. S • Canton Ave. 24. i • Millennia 25. J • On a bus



Hand-Made Type




WWW.SUNG-SUNG.COM


Turn static files into dynamic content formats.

Create a flipbook
Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.