Aldo is a sans serif typeface composed with a continuous construction, Shape rounded oval bowls and counters that are slightly at an angle. It is also determined by its parallel stems and diagonal crossbars. Proportion consists of a meduim proportion with equal ascenders to its cap height. Modelling Modelling is a gradual transition with a normal axis of contrast. Weight Its black in weight and holds a semi-bold weight. Terminations The terminals are blunt beak stroked baseline treatment with blunt sans serif ascenders and defenders. The key characters are double storey forms with horizontal cross bars and curved legs and ascenders
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w
Britanic Bold
Continuous construction Continous curves Parallel stems Medium proportions Capital widths generally regular Ascenders equal to cap-height Vertically high contrast with instant transition Medium in colour
Sheared terminals Flat apex Double story lettering Horizontal cross bar Letters such as ‘f ’ sitting on the baseline Letters such as ‘g’ double storey with closed tail Capital ‘G’ is without spur Decenders such as ‘j’ sitting below the baseline
d
Candara Regular abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 Construction The typface has continuous construction and there are no breaks betwen elements Shape The curves are continuous and oval. The stems gradually flare and the tips are at a slight angle Proportions Overall ,medium width (including capitals) and all ascenders equal to height Modelling A medium contrast between the thickest and thinnest parts of the letterform to which there is a gradual transaction
Weight Medium in colour Terminations The letter form is sans- serif yet there is a slight sheared angle of the ‘plain’ terminal Key Characters The letterform is sitting on the baseline but is double storey and has a horizontal cross-bar. It is close tailed with a flat apex and an ever so lightly cured leg There are no decorations
CENTURY GOTHIC
Construction of the letter ‘a’ is continuous. The Shape shows the Curves are continuous and circular with the counter cutting into stem slightly. Proportions are the letter are quite expanded in width with a large x-height. Modelling of the weight nd variety of line shows slight
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relative difference between the thickest and thinnest part of the letterform. There is no axis of angle, or angle of stress. Weight of letter is medium in colour. Terminations are sans serif. Key Characters distinguishing itself from other letterforms, the ‘a’ is single-storey letter.
a
The bowl descends slightly below baseline. There is no Decoration.
a
a
Futura
Is a sans serif typeface. In comparing a futura ‘a’ with helvetica, it can be noted that futura is single storied whereas helvetica is double. The charachter ‘a’ in futura has the properties of being continously constructed. It has continous curves with a round aspect. The letter has a very bold straight stem and its proportions are normal to rounded.The modelling of the letter has medium contrast on vertical axis with gradual transition. The typeface is medium to black in colour. The ‘a’ is without special charachter unlike the plain special charachter of the helvetica ‘a’. Finally, it has no decoration.
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o Futura letterforms are constructed continuously meaning there are no emphatic points of transition or break between letter elements. The typeface has aspects of curves such as circular, triangular and other geometric shapes. Thus meaning the strokes are of a near-even weight, which are low in contrast. In terms of the axis of contrast whereby you can identify where the thickest and thinnest elements of a letter are, futura and its geometric design means the transitions are nearly none-existent, This is most visible in the almost perfectly round stroke of the o. In comparison the helvetica letter o has a more round/slightly square aspect of curves. The lowercase has tall ascenders, which rise above the cap line whereas helvetica doesn’t and the lowercase ascenders are even to the cap height. Futura is apart of a family of fonts with italic, medium italic, condensed medium, condensed extrabold and other family variations.
futura Designed by Paul Renner in 1927
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a
K E YC H A R A C T E R S
F u t u r ai sag e o me t r i c s a n s s e r i f t y p e f a c ed e s i g n e di n1 9 2 7b yP a u l R e n n e r . I t i sb a s e do ng e o me t r i c s h a p e st h a t b e c a mer e p r e s e n t a t i v ev i s u a l e l e me n t s o f t h eB a u h a u sd e s i g ns t y l eo f 1 9 1 9 – 1 9 3 3 . C o mmi s s i o n e db yt h e B a u e r t y p ef o u n d r y , F u t u r awa sc o mme r c i a l l yr e l e a s e di n1 9 2 7 . T h ef a mi l ywa so r i g i n a l l yp u b l i s h e di nL i g h t , Me d i u m, B o l d , a n dB o l dO b l i q u e f o n t si n1 9 2 8 . L i g h t O b l i q u e , Me d i u mO b l i q u e , D e mi b o l d , a n dD e mi b o l d O b l i q u ef o n t swe r el a t e r r e l e a s e di n1 9 3 0
e A gG f s i n g l es t o r e y
h o r i z o n t a l c r o s s b a r
s i t t i n go nt h eb a s e l i n e
f l a t a p e x
C O N S T R U C T I O NA N DP R O P O R T I O N F u t u r ah a sn oe mp h a t i c p o i n t so f t r a n s i t i o n b e t we e ns t r o k e s , o r b r e a k sb e t we e ne l e me n t s . F u t u r ai sa v a i l a b l ei naf a mi l yo f wi d t h s , h o we v e r t h emo s t c o mmo n l yu s e dh a sa n a t u r a l l yc o n d e n s e dwi d t h .
o
wi t h o u t s p u r
Q
s i n g l es t o r e ywi t ho p e nt a i l
R t a i l d i s s e c t i n gb o wl
R E L A T I V EI N T E R N A LP R O P O R T I O N S T h ea s c e n d e r sa r eh i g h e r t h a nt h ec a p h e i g h t J a n di t h a sal a r g ex h e i g h t .
F f s t r a i g h t l e g
F f
MO D E L L I N G T h er e l a t i v ed i f f e r e n c eb e t we e nt h et h i c k e s t a n dt h i n n e s t p a r t so f t h el e t t e r f o r mswi t h i nF u t u r a a r eme d i u ma n dt h ea x i so f c o n t r a s t i sv e r t i c a l . T h et r a n s i t i o nf r o mt h et h i c k e s t a n dt h i n n e s t p a r t so f t h el e t t e r f o r ma r eg r a d u a l .
a b c
Futura
S
Designed by Paul Renner in 1927 Construction: Continuous construction Shape: Geometric Proportions: Regular (but option of condensed) Modelling: None Weight: Medium in colour Terminations: Sans serif Key characteristics: Sitting on baseline. The ‘O’s are perfect circles and the peaks at the top of ‘A’s, ‘M’s and ‘W’s are sharp triangles. Decoration: None
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz
abcdefghijklmnopqrstuvwxyz Construction - Continuous Contsruction Shape - Aspect of curves, Oval Proportions - Medium
Modelling - Contrast Medium
Weight - Medium
Terminations - Terminals ,Plain
Key Characters - Sitting on Decoration - None
Geneva
K
Gill Sans Light Construction: Broken or interupted Shape: Angular straight lines Proportions: Light, Capital Modelling: None Weight: Medium in colour Terminations: Tuscan Key Characters: Single storey, sitting on the baseline, straight leg Decoration: None
S Georgia
Construction:Continuous Shape: Round (circular) Proportions: Medium Modelling: High Weight: Medium in colour Terminations: Sharp and re-find serif Key Characters: Sitting on the baseline Decoration: None
KKKKKK KKKKKK KKKKKK KKKKKK KKKKKK
SS S S S S S SSSSSSS SS S S S S S SSSSSSS SS S S S S S SSSSSSS SS S S S S S SSSSSSS
Ww Gill Sans MT
Construction
Regular 14pt
Gill Sans has no emphatic points of transition between strokes, or breaks between elements.
Shape Gill Sans has to variants to traditional forms, and has a continous treatment of curves. The upright stems have parallel edges, with the height of the crossbar at the x-height.
Proportions The default width of Gill Sans is medium (normal). It follows the Roman square capital proportions. The relative internal propotions are equal to cap-height, and has a small x-height. Helvetica’s x-height is slightly higher than the height of the crossbar.
Modelling Gill Sans has no contrast of the letter forms, and no transition.
Weight Gill Sans has many weights the most popular are regular, italic, bold, bold italic. Helvetica has so many different weights I couldn’t fit them on this while page even if I wanted too.
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Gg
Gill Sans
Construction
Modelling
Key Characters
Continuous construction of characters
No contrast in the modelling
Shape
Weight
Rounded continuous curves.Straight lines are angular with no curves. Upright stems have parallel edges. Cross bar in the middle.
Medium in colour
Double story ‘a’ Horizontal cross bar e.g. ‘e’ Double story ‘g’ with closed tail Flat apex eg. ‘A’ No Spur ‘G’ ‘J’ descending below the baseline ‘Q’ has a long tail Straight leg e.g. ‘R’
Proportions
Terminations
Widght is medium. Relative proportion of capitals are genreally regular. Ascenders equal to cap-height.
Sans Serif
Key Characters: a e g A G J Q R
R TYPEFACE: HAETTENSCHWEILER
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz TYPEFACE ANALYSIS CONSTRUCTION: Continuous No emphatic points of transition SHAPE: No variants to traditional forms Slightly square aspect of curves Exaggerated bowl treatment Parallel Edges Higher position of crossbars PROPORTIONS: Medium width Capital widths generally regular
MODELLING: Medium contrast Vertical axis of contrast Gradual transition WEIGHT: Black in colour Regular weight TERMINATIONS: Sans serif Plain terminals on lower cases DECORATION: None
KEY CHARACTERS, Lower Case: Double storey on A Horizontal crossbar on E F sits on baseline Single storey on G, J and Y KEY CHARACTERS, Upper Case: Flat apex on A Vertical Spur on G J sits on baseline Short tail on Q Slightly curved leg on R
IMPACT
m m
abcdefghijklmnopqrstuvwxyz IMPACT Impact is a San-Serif typeface with a continuous construction which is the same with Helvetica. For this letter in impact the arches have quite an irregular, thin shape and the stems are very black and parallel giving the overall face a high contrast.The letter in Helvetica however is much lighter in appearance and a much lover contrast. Due to impact being black in colour, the letter appears â&#x20AC;&#x2DC;squashedâ&#x20AC;&#x2122; and overall the typeface appears condensed, while Helvetica is much lighter and has a more regular weight and proportions. The terminations are sans-serif and almost always at a 90 degree angle a characteristic that is shared with Helvetica. The x-height of Impact is much larger than in Helvetica causing it to sit much heavier on the page. I would recommend using Impact for titles and perhapse subtitles if used in lower-case.
HELVETICA
Lucida Sans
g -
Continuous Construction, Shape - Continuous curves Proportions - medium width, Medium contrast
Gradual transition - Light in colour - Blunt, open tail - Single storey
Aa ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz
Myriad Roman_Sans serif Construction_Continuous construction Shape_Variants to traditional forms Curving of normal straight lines, rounded corners Proportions_Small x height Weight_medium in coulour Terminations_Key characters Double story a, Straight leg,s short tails
e e e e Optima e Construction Continuous construction.
Reglular
Shape
Curves are continuous, slightly oval. Upright stems made with slight concave elements.
Proportions
Has medium width, follows Roman square capital proportions. Ascenders are equal to the cap height, with a large x-height.
Italics
Modelling
Medium contrast on a vertical axis, with a gradual transition. Cross bars are horizontal.
Weight
Medium in colour.
Bold italic
Terminations
Subtly tapered with the implication of a serif.
Sans Serif Humanist
Bold
Designed by Hermann Zapf ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 123456789
ExtraBlack
i og
Construction: - continuous Shape: - continuous curves - round aspect - parallel edges Proportions: - medium (normal) - roman square proportions - ascenders equal to capheight - small x-height Modelling: - medium contrast - vertical axis - gradual transition Weight: - medium in colour Terminations: - sans serif - tapered terminals Key Characters:
thonburi sans serif
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helvetica
-
double-story horizontal cross-bars sitting on baseline single-story open tail flat apex without spur long tail straight leg
Decoration: - none
Helvetica is a little more condensed with an additional small increase in weight in comparison to thonburi which has a thinner existance. The horizontal cross-bars on the letterform’s ‘t’ and ‘f’ are much wider on thonburi than thy are on helvetica. Both sans serif typefaces contain double-story lowercase letterforms with parallel edges.
Aa Tw Cen MT
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Tw Cen MT is a Sans Serif typeface with continous constructions it is similar to Futura but can be disgunished apart by certain properties.Tw Cen Mt has has round curve properties with parallel upright stems.The dimensions and use of space of the basic letterforms follow Roman square capital proportions and have ascenders equal to the cape height. As we can see in the letter ‘a’ their is of a medium contrast on a verticle axis and has no transitional value between the thick and thin parts compared with Futura that has a none- medium contrast.The typeface is medium in colour and is available in a regular or bold weight where as Futura is more black in colour and is availble in regular or condensed.The key characteristics of the Tw Cen Mt typeface are single storey characters with single open tail, all the characters sit on the baseline and have horizontal crossbars.The ‘A’ highlights the pointed apex characteristics and ‘R’ shows the straight legs.
Univers
a
Yy Tt Qq Aa abcdefghijklmn o p q r s tuv w x y z Univers light originates from the Univers which was created in 1957 by Deberny and Peignot. Univers can often be mistaken for the typefaces; Folio and Helvetica. The main differences between the two fonts are as follows the tail of the a is much less rounded, the arms of the k join at the stem, the tail of the Q runs along the baseline, the top of the t is angled and the Y has a straight descender. Now looking at the other seven characteristics of universâ&#x20AC;&#x2122; formal attributes. Universe like many of sans serif fonts of its time is comprised of a continuous construction with the shape following that of the traditional form of curving of the normal straight lines, rounded corners and irregular elements. Universe is availiable in nine weights, four widths and positions; Roman and Oblique.