Type Posters

Page 1

TYPE POSTERS Raeann Langas


INITIAL SKETCHES During the first round of sketches I was just getting all of my ideas on the paper-including the great and not so great sketches. I chose a few of my favorites to present to the class. After, the critique the class chose number 18 as their favorite layout.


REFINED SKETCHES Font One

Font One

Font One

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Font One

Font One

Font One

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Font One

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Font One Font One

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OLD STYLE

{

OLD STYLE

A A AA A AA A AA Font One

Mis, tem auctatus ses contem pra rei publiquam sesi scivereis, viverio nsilicauture re tris, qua nemus, terum quit, serio, feciam seditatus comnius, qua pulis cres acio publicibunum publiissolut aus ca vit; inticau deatuus consim que enatrum ac ficaes cavolto estil unum remusse restam re mo in vo, uterore prem sentilin vereo etimus, Catum inemunte, esci sid fenti, vid comaio perum novis consum lis; nihilint. Satuam nox sedie noverus C. Obunte, quam se iam aricii in viditatimur hae consuas timis. Nihil vil hoc tementi ca noterimus vid nost? An voltur, Cateliam, opultor are, C. Simorem num antid condent rissentim sendinc ta, nitua quo vidium nuntem tum ticaperipion tuus hostem num firi, en is nulti, quemorterium similis. Cerficis dica te, apere, que novigna resses loctusquem aucidem eo, nonloc vignatr endam. Gractur urem simus et ineres bonsum maximandi, C. Orae

Font One

Font One

Mis, tem auctatus ses contem pra rei publiquam sesi scivereis, viverio nsilicauture re tris, qua nemus, terum quit, serio, feciam seditatus comnius, qua pulis cres acio publicibunum publiissolut aus ca vit; inticau deatuus consim que enatrum ac ficaes cavolto estil unum remusse restam re mo in vo, uterore prem sentilin vereo etimus, Catum inemunte, esci sid fenti, vid comaio perum novis consum lis; nihilint. Satuam nox sedie noverus C. Obunte, quam se iam aricii in viditatimur hae consuas timis. Nihil vil hoc tementi ca noterimus vid nost? An voltur, Cateliam, opultor are, C. Simorem num antid condent rissentim sendinc ta, nitua quo vidium nuntem tum ticaperipion tuus hostem num firi, en is nulti, quemorterium similis. Cerficis dica te, apere, que novigna resses loctusquem aucidem eo, nonloc vignatr endam. Gractur urem simus et ineres bonsum maximandi, C. Orae

OLD STYLE

OLD STYLE

Font One

{

Baskerville Mrs. Eaves Bookman

Times

Joanna

{

MODERN

This classification of type was established by English printer and typographer, John Baskerville in the mid 18th century. Transitional type is distinguished by strong thick and thin contrast in the weight of the stem and hairline, finely bracketed serifs, and a nearly vertical stress. The capitals are the same height as lowercase ascenders.

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Garamond

Caslon

Bembo

Palatino

Goudy Old Style

Mis, tem auctatus ses contem pra rei publiquam sesi scivereis, viverio nsilicauture re tris, qua nemus, terum quit, serio, feciam seditatus comnius, qua pulis cres acio publicibunum publiissolut aus ca vit; inticau deatuus consim que enatrum ac ficaes cavolto estil unum remusse restam re mo in vo, uterore prem sentilin vereo etimus, Catum inemunte, esci sid fenti, vid comaio perum novis consum lis; nihilint. Satuam nox sedie noverus C. Obunte, quam se iam aricii in viditatimur hae consuas timis. Nihil vil hoc tementi ca noterimus vid nost? An voltur, Cateliam, opultor are, C. Simorem num antid condent rissentim sendinc ta, nitua quo vidium nuntem tum ticaperipion tuus hostem num firi, en is nulti, quemorterium similis. Cerficis dica te, apere, que novigna resses loctusquem aucidem eo, nonloc vignatr endam. Gractur urem simus et ineres bonsum maximandi, C. Orae

This classification of type was established by English printer and typographer, John Baskerville in the mid 18th century. Transitional type is distinguished by strong thick and thin contrast in the weight of the stem and hairline, finely bracketed serifs, and a nearly vertical stress. The capitals are the same height as lowercase ascenders.

Garamond Caslon

Bembo

Palatino

Goudy Old Style

{

This classification includes the first Roman types which were created in the late 15th and mid 18th centuries. There is little contrast between the stem and hairline weight. Some other distinguishing characteristics of Old Style are, cupped serifs, organic designs and the terminals on the lowercase letter are shaped like teardrops.

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 1 2 3 4 5 6 7 8 9 10

TRANSITIONAL

{

{

{

Garamond

Caslon

Bembo

Palatino

Goudy Old Style

{

This classification of type was established by English printer and typographer, John Baskerville in the mid 18th century. Transitional type is distinguished by strong thick and thin contrast in the weight of the stem and hairline, finely bracketed serifs, and a nearly vertical stress. The capitals are the same height as lowercase ascenders.

TRANSITIONAL {

Garamond Caslon

Bembo

Palatino

Goudy Old Style

{

This classification of type was established by English printer and typographer, John Baskerville in the mid 18th century. Transitional type is distinguished by strong thick and thin contrast in the weight of the stem and hairline, finely bracketed serifs, and a nearly vertical stress. The capitals are the same height as lowercase ascenders.

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 1 2 3 4 5 6 7 8 9 10

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 {

Baskerville

Janson

Caslon

Times

Joanna

1 2 3 4 5 6 7 8 9 10

{

{

This classification of type was established by English printer and typographer, John Baskerville in the mid 18th century. Transitional type is distinguished by strong thick and thin contrast in the weight of the stem and hairline, finely bracketed serifs, and a nearly vertical stress. The capitals are the same height as lowercase ascenders.

Janson

Caslon

Times

Joanna

{

This classification of type was established by English printer and typographer, John Baskerville in the mid 18th century. Transitional type is distinguished by strong thick and thin contrast in the weight of the stem and hairline, finely bracketed serifs, and a nearly vertical stress. The capitals are the same height as lowercase ascenders.

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

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

1 2 3 4 5 6 7 8 9 10

1 2 3 4 5 6 7 8 9 10

TRANSITIONAL

Baskerville

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

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

1 2 3 4 5 6 7 8 9 10

1 2 3 4 5 6 7 8 9 10

From the initial sketch I played around with my ideas on the computer. After looking at the layout, I realized I just wasn’t in love with the type running horizontal on the page. I came up with a very simple and clean layout that I thought could effectively portray each font family. After the in class critique I made a few adjustments. I added columns for the text, limited the other font families, added punctuation and stuck with the black and white color scheme.


INSPIRATION


FINAL FORMS

A

{ Caslon Baskerville Times { !@#$%^&*()<>?;[]{}\,. The typefaces of the Transitional period represent the initial separation from the Old Style traditional typefaces. This classification was established by the English printer and typographer, John Baskerville. John Baskerville was one of the main influencer of this period. He was printer in Birmingham, England and a member of the Royal Society of the Arts. His typefaces were especially loved by Benjamin

Franklin. Benjamin Franklin brought Baskerville’s designs back to the United States where his typefaces were used on most federal government documents. This font family can be distinguished by the strong thick and thin contrast in the weight of the stem and hairline, also, the finely bracketed serifs, and nearly vertical stress. The capitals are also the same height as the lowercase ascenders.

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 1 2 3 4 5 6 7 8 9 10

TRANSITIONAL


A

{ Bembo Garamond Palatino { !@#$%^&*()<>?;[]{}\,.

Old Style typefaces include the first Roman types which were created in the late 15th and mid 18th centuries. These types are characterized by curves strokes and whose axis leans to the left. There is also little contrast between thick and thins in this classification. Some other characteristics of the classification include, cupped serifs, organic designs and the terminals on the lowercase letter are shaped like teardrops.

Garamond is one of the old-style serif typefaces that was named after Claude Garamond. These letterforms are fluid and consistent. His letters have unique characteristics including the small bowl of the “a” and the small eye of the “e.” Garamond is also considered one of the most legible serif typefaces for print.

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 1 2 3 4 5 6 7 8 9 10

OLD STYLE


A

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Bodoni Didot Modern No. 20

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!@#$%^&*()<>?;[]{}\,. The Modern types represent the last phase of character evolution form the Old Style types. After the acceptance of the Transitional types, typographers began to further reject the classic Old Style letters and continued to refine and develop the perfect letterform. In the late 18th century this new view of type was embodied by Giambattista Bodoni in Italy. Bodoni was concerned about

printing to highest level of quality for the aristocracy. Because of his attention to detail and craftsmanship, Bodoni was considered tot he the finest printer of his time. Modern types can be characterized by extreme contrast between thick and thin strokes, no bracketing of serifs, strong vertical stress and the terminals on some letters are circular.

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 1 2 3 4 5 6 7 8 9 10

MODERN


A

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Chapparral Rockwell American Typewriter

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! @ # $ % ^ & * ( ) < > ? ;[ ] { } \ ,.

During the 19th century, the Industrial Revolution profoundly changed printing and typography. These changing times brought the creation of new kinds of print media and also the need for more functional type design for commercial use. Many of the slab serif types, also known as Egyptians, were designed to attract the readers attention in newspapers and advertising.

There is little contrast between the thick and thin in weight of the stem and hairline. They are also distinguished by little or no bracketing between the stem and 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 1 2 3 4 5 6 7 8 9 10

SLAB SERIF


A

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Futura Helvetica Gill Sans !@#$%^&*()<>?;[]{}\,.

San Serif typefaces are more of a basic letterform used for contemporary communication. Int he early 20th century technological advances continued to change the world of typography. Advertising and print journalism were thriving which lead to a contemporary movement in type design. Futura is a classic example of a San serif font. It was designed in 1928 by Paul Renner, a German design teacher. This

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was the first widely accepted and popular Sans Serif typeface. San Serifs are defined by squared off terminals, no serifs, and large body height in proportion to capital height.

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 1 2 3 4 5 6 7 8 9 10

SANS SERIF


A

{

Rosewood Hobo Giddyup !@#$%^&*()<>?;[]{}\,.

For the most part, Decorative fonts are used for ornamenting title pages, chapter headings and initials. For advertising purposes, display type is relied on to attract attention. Visual impact was the main focus and readability was less important. These designs were bold, sometimes incorporated outline and inlines, were colored and shades, or utilized three-dimensional

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shadows. Most of these flamboyant typefaces were short lived. Many typographers see these ornate type designs as a step backward in the world of typography.

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 1 2 3 4 5 6 7 8 9 10

DECORATIVE


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