Type Poster Olivia Albers
inspiration/research
25 Preliminary Sketches
Transitional
B abcdefghijklmnopqrstuvwxyz 0123456789 ;’,./?&#!*() Between Old Style and Modern are Transitional typefaces. Transitional type tends to have a more obvious vertical axis and more prominent serifs compared to humanist forms. The first Transitional typeface was created by John Baskerville in the mid 18th century. Baskerville’s new printing methods allowed for finer character strokes and shapes. Compared to Old Style typefaces, Transitional typefaces have more contrast in weight.
( Baskerville Times Mrs. Eaves )
A Slab Serif typefaces, also known as Egyptian typefaces, are traditionally used more in headlines due to their more decorative design. Heavy serifs prevent these typefaces from being read in low point sizes. These more decorative typefaces were originally used in advertising starting in the 19th century. Transitional typefaces can be classified by heavy serifs and little if any bracketing.
{
{
Courier Rockwell American Typewriter
AaBbCcDdEeFfGgHhIiJjKkLlMmNnOo PpQqRrSsTtUuVvWwXxYyZz 0123456789 ;’,./ ? & # ! * ( )
Slab Serif
A {
{
Courier Rockwell American Typewriter
AaBbCcDdEeFfGgHhIi JjKkLlMmNnOoPpQqRr SsTtUuVvWwXxYyZz 0123456789 ;’,./ ? & # ! * ( )
Slab Serif typefaces, also known as Egyptian typefaces, are traditionally used more in headlines due to their more decorative design. Heavy serifs prevent these typefaces from being read in low point sizes. These more decorative typefaces were originally used in advertising starting in the 19th century. Transitional typefaces can be classified by heavy serifs and little if any bracketing.
Slab Serif
{
Courier Rockwell American Typewriter
{
A Slab Serif typefaces, also known as Egyptian typefaces, are traditionally used more in headlines due to their more decorative design. Heavy serifs prevent these typefaces from being read in low point sizes. These more decorative typefaces were originally used in advertising starting in the 19th century. Transitional typefaces can be classified by heavy serifs and little if any bracketing.
AaBbCcDdEeFfGgHh IiJjKkLlMmNnOoPpQq RrSsTtUuVvWwXxYyZz 0123456789 ;’,./ ? & # ! * ( )
Slab Serif
Modern {Didot
}
Bodoni Modern No. 20
AaBbCcDdEeFfGgHhIiJjKkLlMmNnOo PpQqRrSsTtUuVvWwXxYyZz 0123456789 ;’,./?&#!*()
Developed in the late 18th and early 19th centuries, Modern typefaces were quite different from what was usually used in print at the time. The typefaces’ strokes have high contrast paired with straight serifs. A completely vertical axis also makes Modern typefaces stand out.
M
J
{Didot
}
Bodoni Modern No. 20
AaBbCcDdEeFfGgHh IiJjKkLlMmNnOoPpQq RrSsTtUuVvWwXxYyZz
Developed in the late 18th and early 19th centuries, Modern typefaces were quite different from what was usually used in print at the time. The typefaces’ strokes have high contrast paired with straight serifs. A completely vertical axis also makes Modern typefaces stand out.
Modern
0123456789 ;’,./?&#!*()
[ Garamond Bembo Palatino ]
Style
P
Old Style starts with the first Roman typefaces that were created between the time of the late 15th and mid 18th centuries. The axis of letters usually leans left. In terms of stroke weight, there is not a dramatic difference. Bracketed serifs are usually found in Old Style typefaces. Sometimes, a diagonal cross stroke of the lowercase e can distinguish Old Style typefaces from others.
AaBbCcDdEeFfGgHh IiJjKkLlMmNnOoPpQq RrSsTtUuVvWwXxYyZz 0123456789 ;’,./?&#!*()
Old
Decorative { Rosewood Capture it Curlz }
Decorative typefaces are known for being elaborative and characterized. Since they are so specialized they don’t work well for body text and are often utilized in titles, headings, and signage. Often they reflect a certain type of message directed at a specific audience. Many Decorative typefaces are time-sensitive and can quickly fall in and out of style.
AaBbCcDdEeFfGgHh IiJjKkLlMmNnOoPpQq RrSsTtUuVvWwXxYyZz 0123456789 ;’,./ ? & # ! * ( )
R
Sans-Serif
W
[ Gill Sans Helvetica Futura ]
Sans-Serif typefaces do not have any serifs. Sans-Serif typefaces can be traced back to as early as the 5th century, but the revival of the Italian Renaissance made the typefaces fairly useless until the 20th century. The rediscovery of Sans-Serif typefaces can be attributed to revolts in Germany that were started to go against the traditional Blackletter styles that were heavily used. Sans-Serif typefaces can be broken down into three main sub categories: Humanist, Transitional, and Geometric.
AaBbCcDdEeFfGgHhIiJjKkLlMmNnOo PpQqRrSsTtUuVvWwXxYyZz 0123456789; ’ , . / ? & # ! * ( )
Decorative AaBbCcDdEeFfGgHh IiJjKkLlMmNnOoPpQq RrSsTtUuVvWwXxYyZz
{ Rosewood Capture it Curlz }
0123456789 ;’,./ ? & # ! * ( )
R
Decorative typefaces are known for being elaborative and characterized. Since they are so specialized they don’t work well for body text and are often utilized in titles, headings, and signage. Often they reflect a certain type of message directed at a specific audience. Many Decorative typefaces are time-sensitive and can quickly fall in and out of style.
Decorative
R
Decorative typefaces are known for being elaborative and characterized. Sinc they are so specialized they don’t work well for body text and are often utilized in titles, headings, and signage. Often they reflect a certain type of message directed at a specific audience. Many Decorative typefaces are time-sensitive and can quickly fall in and out of style.
{ Rosewood Capture it Curlz }
AbCdefghijklMnopqrstuvwxyz 0123456789; ’ , . / ? & # ! * ( )
{Didot
}
Bodoni Modern No. 20
Developed in the late 18th and early 19th centuries, Modern typefaces were quite different from what was usually used in print at the time. The typefaces’ strokes have high contrast paired with straight serifs. A completely vertical axis also makes Modern typefaces stand out.
Modern J AaBbCcDdEeFfGgHh IiJjKkLlMmNnOoPpQq RrSsTtUuVvWwXxYyZz 0123456789 ;’,./?&#!*()
{Didot Bodoni Modern No. 20}
J Developed in the late 18th and early 19th centuries, Modern typefaces were quite different from what was usually used in print at the time. The typefaces’ strokes have high contrast paired with straight serifs. A completely vertical axis also makes Modern typefaces stand out.
AaBbCcDdEeFfGgHhIiJjKkLlMm NnOoPpQqRrSsTtUuVvWwXxYyZz 0123456789 ; ’ , . / ? & # ! * ( )
Modern
Developed in the late 18th and early 19th centuries, Modern typefaces were quite different from what was usually used in print at the time. The typefaces’ strokes have high contrast paired with straight serifs. A completely vertical axis also makes Modern typefaces stand out.
AaBbCcDdEeFfGgHhIiJjKkLlMm NnOoPpQqRrSsTtUuVvWwXxYyZz 0123456789 ; ’ , . / ? & # ! * ( )
{Didot Bodoni Modern No. 20}
J
Modern
W Sans-Serif typefaces do not have any serifs. Sans-Serif typefaces can be traced back to as early as the 5th century, but the revival of the Italian Renaissance made the typefaces fairly useless until the 20th century. The rediscovery of Sans-Serif typefaces can be attributed to revolts in Germany that were started to go against the traditional Blackletter styles that were heavily used. Sans-Serif typefaces can be broken down into three main sub categories: Humanist, Transitional, and Geometric.
AaBbCcDdEeFfGgHhIiJjKk LlMmNnOoPpQqRrSsTtUu VvWwXxYyZz 0123456789; ’ , . / ? & # ! * ( )
Sans-Serif
[ Gill Sans Helvetica Futura ]
W AaBbCcDdEeFfGgHhIiJjKk LlMmNnOoPpQqRrSsTtUu VvWwXxYyZz 0123456789; ’ , . / ? & # ! * ( )
Sans-Serif
[ Gill Sans Helvetica Futura ]
Sans-Serif typefaces do not have any serifs. Sans-Serif typefaces can be traced back to as early as the 5th century, but the revival of the Italian Renaissance made the typefaces fairly useless until the 20th century. The rediscovery of Sans-Serif typefaces can be attributed to revolts in Germany that were started to go against the traditional Blackletter styles that were heavily used. Sans-Serif typefaces can be broken down into three main sub categories: Humanist, Transitional, and Geometric.
Old Style [ Garamond Bembo Palatino ] Old Style starts with the first Roman typefaces that were created between the time of the late 15th and mid 18th centuries. The axis of letters usually leans left. In terms of stroke weight, there is not a dramatic difference. Bracketed serifs are usually found in Old Style typefaces. Sometimes, a diagonal cross stroke of the lowercase e can distinguish Old Style typefaces from others.
AaBbCcDdEeFfGgHh IiJjKkLlMmNnOoPpQq RrSsTtUuVvWwXxYyZz 0123456789 ;’,./?&#!*()
P
Slab Serif
{
{
Courier Rockwell American Typewriter
A
Slab Serif typefaces, also known as Egyptian typefaces, are traditionally used more in headlines due to their more decorative design. Heavy serifs prevent these typefaces from being read in low point sizes. These more decorative typefaces were originally used in advertising starting in the 19th century. Transitional typefaces can be classified by heavy serifs and little if any bracketing.
AaBbCcDdEeFfGgHhIiJj KkLlMmNnOoPpQqRrSs TtUuVvWwXxYyZz 0123456789 ;’,./ ? & # ! * ( )
W AaBbCcDdEeFfGgHhIiJjKk LlMmNnOoPpQqRrSsTtUu VvWwXxYyZz 0123456789; ’ , . / ? & # ! * ( )
Sans-Serif
[ Gill Sans Helvetica Futura ]
Sans-Serif typefaces do not have any serifs. Sans-Serif typefaces can be traced back to as early as the 5th century, but the revival of the Italian Renaissance made the typefaces fairly useless until the 20th century. The rediscovery of Sans-Serif typefaces can be attributed to revolts in Germany that were started to go against the traditional Blackletter styles that were heavily used. Sans-Serif typefaces can be broken down into three main sub categories: Humanist, Transitional, and Geometric.
W Sans-Serif typefaces do not have any serifs. Sans-Serif typefaces can be traced back to as early as the 5th century, but the revival of the Italian Renaissance made the typefaces fairly useless until the 20th century. The rediscovery of Sans-Serif typefaces can be attributed to revolts in Germany that were started to go against the traditional Blackletter styles that were heavily used. Sans-Serif typefaces can be broken down into three main sub categories: Humanist, Transitional, and Geometric.
AaBbCcDdEeFfGgHhIiJjKk LlMmNnOoPpQqRrSsTtUu VvWwXxYyZz 0123456789; ’ , . / ? & # ! * ( )
Sans-Serif
[ Gill Sans Helvetica Futura ]
{ Rosewood Capture it Curlz } Decorative typefaces are known for being elaborative and characterized. Since they are so specialized they don’t work well for body text and are often utilized in titles, headings, and signage. Often they reflect a certain type of message directed at a specific audience. Many Decorative typefaces are time-sensitive and can quickly fall in and out of style.
Decorative
R
AbCdefghijklMnopqrstuvwxyz 0123456789; ’ , . / ? & # ! * ( )
{Didot
}
Bodoni Modern No. 20
Developed in the late 18th and early 19th centuries, Modern typefaces were quite different from what was usually used in print at the time. The typefaces’ strokes have high contrast paired with straight serifs. A completely vertical axis also makes Modern typefaces stand out.
Modern J AaBbCcDdEeFfGgHh IiJjKkLlMmNnOoPpQq RrSsTtUuVvWwXxYyZz 0123456789 ;’,./?&#!*()
{Didot Bodoni Modern No. 20}
J Developed in the late 18th and early 19th centuries, Modern typefaces were quite different from what was usually used in print at the time. The typefaces’ strokes have high contrast paired with straight serifs. A completely vertical axis also makes Modern typefaces stand out.
AaBbCcDdEeFfGgHhIiJjKkLlMm NnOoPpQqRrSsTtUuVvWwXxYyZz 0123456789 ; ’ , . / ? & # ! * ( )
Modern
( Baskerville Times Mrs. Eaves )
B
abcdefghijklmnopqrstuvwxyz 0123456789 ;’,./?&#!*()
Between Old Style and Modern are Transitional typefaces. Transitional type tends to have a more obvious vertical axis and more prominent serifs compared to humanist forms. The first Transitional typeface was created by John Baskerville in the mid 18th century. Baskerville’s new printing methods allowed for finer character strokes and shapes. Compared to Old Style typefaces, Transitional typefaces have more contrast in weight.
Transitional
J
{Didot
}
Bodoni Modern No. 20
AaBbCcDdEeFfGgHh IiJjKkLlMmNnOoPpQq RrSsTtUuVvWwXxYyZz
Developed in the late 18th and early 19th centuries, Modern typefaces were quite different from what was usually used in print at the time. The typefaces’ strokes have high contrast paired with
straight serifs. A completely vertical axis also makes Modern typefaces stand out.
Modern
0123456789 ;’,./?&#!*()
10 Additional Sketches
{Didot
}
Bodoni Modern No. 20
Developed in the late 18th and early 19th centuries, Modern typefaces were quite different from what was usually used in print at the time. The typefaces’ strokes have high contrast paired with straight serifs. A completely vertical axis also makes Modern typefaces stand out.
Modern J AaBbCcDdEeFfGgHh IiJjKkLlMmNnOoPpQq RrSsTtUuVvWwXxYyZz 0123456789 ;’,./?&#!*()
J {Didot
}
Bodoni Modern No. 20
Modern Developed in the late 18th and early 19th centuries, Modern typefaces were quite different from what was usually used in print at the time. The typefaces’ strokes have high contrast paired with straight serifs. A completely vertical axis also makes Modern typefaces stand out.
AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 0123456789 ; ’ , . / ? & # ! * ( )
J
Developed in the late 18th and early 19th centuries, Modern typefaces were quite different from what was usually used in print at the time. The typefaces’ strokes have high contrast paired with straight serifs. A completely vertical axis also makes Modern typefaces stand out.
Modern
{Didot Bodoni Modern No. 20}
AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 0123456789 ; ’ , . / ? & # ! * ( )
Modern {Didot
}
Bodoni Modern No. 20
J
Developed in the late 18th and early 19th centuries, Modern typefaces were quite different from what was usually used in print at the time. The typefaces’ strokes have high contrast paired with straight serifs. A completely vertical axis also makes Modern typefaces stand out.
AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPp QqRrSsTtUuVvWwXxYyZz 0123456789 ; ’ , . / ? & # ! * ( )
Modern AaBbCcDdEeFfGgHhIiJjKkLlMm NnOoPpQqRrSsTtUuVvWwXxYyZz 0123456789 ; ’ , . / ? & # ! * ( )
{Didot
}
Bodoni Modern No. 20
J
Developed in the late 18th and early 19th centuries, Modern typefaces were quite different from what was usually used in print at the time. The typefaces’ strokes have high contrast paired with straight serifs. A completely vertical axis also makes Modern typefaces stand out.
Modern {Didot
Developed in the late 18th and early 19th centuries, Modern typefaces were quite different from what was usually used in print at the time. The typefaces’ strokes have high contrast paired with straight serifs. A completely vertical axis also makes Modern typefaces stand out.
AaBbCcDdEeFfGgHhIiJjKkLlMm NnOoPpQqRrSsTtUuVvWwXxYyZz 0123456789 ; ’ , . / ? & # ! * ( )
J
}
Bodoni Modern No. 20
AaBbCcDdEeFfGgHhIiJjKkLlMm NnOoPpQqRrSsTtUuVvWwXxYyZz 0123456789 ; ’ , . / ? & # ! * ( )
Modern
{Didot Bodoni Modern No. 20}
J
Developed in the late 18th and early 19th centuries, Modern typefaces were quite different from what was usually used in print at the time. The typefaces’ strokes have high contrast paired with straight serifs. A completely vertical axis also makes Modern typefaces stand out.
Modern {Didot Bodoni Modern No. 20}
AaBbCcDdEeFfGgHhIiJjKkLlMm NnOo PpQqRrSsTtUuVvWwXxYyZz 0123456789 ; ’ , . / ? & # ! * ( )
nce t th en e. 19 fer tim f al rly di he t ic ea te t t s rt . d ui t a tra ve ut an e q rin on ly d o th er p h c ete an 18 s w in ig pl st te e ed h m s la fac us ave co ace e A f th pe ally s h s. pe in n ty su ke erif ty ed er s u tro t s ern op od a ’ s h d el M t w es aig Mo ev s, a c tr D rie wh efa h s kes tu m typ wit a fro e d o m Th ire als pa xis a
J
J
Developed in the late 18th and early 19th centuries, Modern typefaces were quite different from what was usually used in print at the time. The typefaces’ strokes have high contrast paired with straight serifs. A completely vertical axis also makes Modern typefaces stand out.
{Didot
Bodoni Modern No. 20}
Modern
AaBbCcDdEeFfGgHhIiJjKkLlMm NnOo PpQqRrSsTtUuVvWwXxYyZz 0123456789 ; ’ , . / ? & # ! * ( )
J
{Didot
Bodoni Modern No. 20}
Developed in the late 18th and early 19th centuries, Modern typefaces were quite different from what was usually used in print at the time. The typefaces’ strokes have high contrast paired with straight serifs. A completely vertical axis also makes Modern typefaces stand out.
AaBbCcDdEeFfGgHhIiJjKkLlMm NnOo PpQqRrSsTtUuVvWwXxYyZz 0123456789 ; ’ , . / ? & # ! * ( )
Modern
Final Six Proofs
J
{Didot
Bodoni Modern No. 20}
Developed in the late 18th and early 19th centuries, Modern typefaces were quite different from what was usually used in print at the time. The typefaces’ strokes have high contrast paired with straight serifs. A completely vertical axis also makes Modern typefaces stand out.
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;’,./?& ! ()
Modern
B
{Baskerville
Times Mrs. Eaves}
Between Old Style and Modern are Transitional typefaces. Transitional type tends to have a more obvious vertical axis and more prominent serifs compared to humanist forms. The first Transitional typeface was created by John Baskerville in the mid 18th century. Baskerville’s new printing methods allowed for finer character strokes and shapes. Compared to Old Style typefaces, Transitional typefaces have more contrast in weight.
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;’,./?& ! ()
Transitional
A
{Courier Rockwell Americal Typewriter}
Slab Serif typefaces, also known as Egyptian typefaces, are traditionally used more in headlines due to their more decorative design. Heavy serifs prevent these typefaces from being read in low point sizes. These more decorative typefaces were originally used in advertising starting in the 19th century. Transitional typefaces can be classified by heavy serifs and little if any bracketing.
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 0 1 2 3 4 5 6 7 8 9 ;’,./ ? & ! ( )
Slab Serif
P
{Garamond
Bembo Palatino}
Old Style starts with the first Roman typefaces that were created between the time of the late 15th and mid 18th centuries. The axis of letters usually leans left. In terms of stroke weight, there is not a dramatic difference. Bracketed serifs are usually found in Old Style typefaces. Sometimes, a diagonal cross stroke of the lowercase e can distinguish Old Style typefaces from others.
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;’,./?& ! ()
Old Style
R
{rosewood
capture it Curlz}
Decorative typefaces are known for being elaborative and characterized. Since they are so specialized they don’t work well for body text and are often utilized in titles, headings, and signage. Often they reflect a certain type of message directed at a specific audience. Many Decorative typefaces are timesensitive and can quickly fall in and out of style.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 0123456789;’,./?& ! ()
Decorative
W
{Gill Sans
}
Helvetica Futura
Sans-Serif typefaces do not have any serifs. SansSerif typefaces can be traced back to as early as the 5th century, but the revival of the Italian Renaissance made the typefaces fairly useless until the 20th century. The rediscovery of Sans-Serif typefaces can be attributed to revolts in Germany that were started to go against the traditional Blackletter styles that were heavily used. Sans-Serif typefaces can be broken down into three main sub categories: Humanist, Transitional, and Geometric.
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 0 1 2 3 4 5 6 7 8 9 ;’ ,./ ? & ! ( )
Sans-Serif
After Thoughts After making my final posters, I wish I would’ve played around with color more. I think that could have added an extra element to my designs to make them stand out even more. I thought about adding color briefly but felt like the posters were already graphic enough with the high contrast of black and white. I also wish I would have played around with making the single
letters bigger and letting them run off the page. I saw several designs that did this and they were quite intersting to me. Then again, it seemed to be a common thing to do and didn’t make any one designer stand out. I think I achieved a high level of visual hierarchy with my final design and feel like it works well with each type category.