Typography Times

TYPOGRAPHY TIMES Evolution and History:1400

Glimpse of Anatomy of Type

Refer Page: 34

Guttenberg invented movable typefaces, giving the world a cheaper way to obtain the written word. Up until this point, all written materials were done by hand, and were very costly to purchase. Guttenburg also created the first typeface, blackletter – it was dark, fairly practical, and intense, but not very legible.

A BC D E F G H I J K L M N OPQRSTUVWXYZ A BC D E F G H I J K L MNOPQRSTUVW XYZ 1234567890

CLASSIFICATION OF

TYPE

Choosing the right type face makes clear the sense of the message, and imparts that atmosphere or environment which enables it to be more easily understood.

Most typefaces can be classified into one of four basic groups: those with serifs, those without serifs, scripts and decorative styles.

Serif or Sans-Serif?

Aa Aa

INTRODUCTION

Typography is an art form that has been around for hundreds of years. Words and text are all around us every day in almost everything we do. In every piece of type you see, somebody has considered how the letters, sentences and paragraphs will look in order for it to be read by us, or make us feel a certain way when we look at it. Sometimes it is done well, others not.

The arrangement of type involves selecting typefaces, point size, line length, linespacing (leading), letter-spacing (tracking), and adjusting the space within letters pairs (kerning). The term typography also is applied to the style, arrangement, and appearance of the letters, numbers, and symbols created by the process.

CONTENTS

1 2 3 4

EVOLUTION AND HISTORY OF TYPOGRAPHY

CLASSIFICATION OF TYPE

ANATOMY OF TYPE

TERMINOLOGY

1

EVOLUTION AND HISTORY of

TYPOGRAPHY 1400’s

1470 1734

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Guttenberg invented movable typefaces, giving the world a cheaper way to obtain the written word. Up until this point, all written materials were done by hand, and were very costly to purchase. Guttenburg also created the first typeface, blackletter – it was dark, fairly practical, and intense, but not very legible.

Aldus Manutius created italics – a way to fit more words onto a page, saving the printer money. Today, we use italics as a design detail or for emphasis when writing.

William Caslon created a typeface which features straighter serifs and much more obvious contrasts between thin and bold strokes. Today, we call this type style ‘old style’.

1757

John Baskerville created what we now call Transitional type, a Roman-style type, with very sharp serifs and lots of drastic contrast between thick and thin lines.

1780

Firmin Didot and Giambattista Bodoni created the first ‘modern’ Roman typefaces (Didot, and Bodoni). The contrasts were more extreme than ever before, and created a very cool, fresh look.

1815 1816

1920’s 1957 Present

Vincent Figgins created Egyptian, or Slab Serif – the first time a typeface had serifs that were squares or boxes.

William Caslon IV created the first typeface without any serifs at all. It was widely rebuked at the time. This was the start of what we now consider Sans Serif typefaces. During this time, type exploded, and many, many variations were being created to accommodate advertising.

Frederic Goudy became the world’s first full time type designer, developing numerous groundbreaking typefaces, such as Copperplate Gothic, Kennerly, and Goudy Old Style.

Swiss designer Max Miedinger created Helvetica, the most loved typeface of our time. This was a return to minimalism, and many other simplistic typefaces such as Futura surfaced around this time period.

With the internet, we have such a vast variety of old and new typefaces available for us to peruse and use. All these typefaces give us an abundance of options and looks for our designs today, and we’re not limited by just one or two typefaces like we would have been a few hundred years ago.

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2 TYPE

Classification of

An important factor in the composition of a piece of printing is the selection of the correct type faces. Choosing the right type face makes clear the sense of the message, and imparts that atmosphere or environment which enables it to be more easily understood. A classification system can be helpful in identifying, choosing and combining typefaces.

Most typefaces can be classified into one of four basic groups: those with serifs, those without serifs, scripts and decorative styles.

Serif: • Old Style • Transitional • Neoclassical & Didone • Slab • Clarendon • Glyphic

Sans Serif: • Grotesque • Square • Humanistic • Geometric

Script: • Formal • Casual • Calligraphic • Blackletter & Lombardic

Decortive: • Grunge • Graffiti

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Serif:

Typefaces in this category, which is also known as Roman, have serifs.

Serif typefaces are very legible, and provide improved readability by leading the eye along a line of type.

Although Serif typefaces are very versatile and can be used for virtually any purpose, their most important use is for large bodies of text. No other typefaces are as legible for this purpose.

Serifed typefaces were popular much earlier than sans-serif typefaces and include semi-structural details on many of the letters. People often refer to them as feet, although that is in no way a proper anatomical term when referring to typography.

GARAMOND:

ABCDEFGHIJKLMN OPQRSTUVWXYZ abcdefghijklmnopqrst uvwxyz

Example: 1.Baskerville Old Face 2. Bodoni MT 3. Garamond

0123456789

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Old Style:

These are the first Roman types, faces which were originally created between the late 15th century and mid 18th century, or are patterned after typefaces which were originally designed in this period. The axis of curved strokes is normally inclined to the left in these designs, so that weight stress is at approximately 8:00 and 2:00 o’clock. The contrast in character stroke weight is not dramatic, and hairlines tend to be on the heavy side. Some versions, like the earlier Venetian old style designs, are distinguished by the diagonal cross stroke of the lowercase “e.”

Serifs are almost always bracketed in old style designs and head serifs are often angled.

CENTAUR:

ABCDEFGHIJKLMN OPQRSTUVWXYZ abcdefghijklmnopqrst uvwxyz

Example: 1. Bembo 2. Berkeley Old style 3. Centaur

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0123456789

Transitional:

English printer and typographer John Baskerville established this style in the mid 18th century. These typefaces represent the transition between old style and neoclassical designs, and incorporate some characteristics of each. Baskerville’s work with calendered paper and improved printing methods (both developed by him) allowed much finer character strokes to be reproduced and subtler character shapes to be maintained.

While the axis of curve strokes can be inclined in transitional designs, the strokes normally have a vertical stress. Weight contrast is more pronounced than in old style designs.

Example: 1. Americana 2. Baskerville 3. Perpetua

PERPETUA:

ABCDEFGHIJKLMN OPQRSTUVWXYZ abcdefghijklmnopqrst uvwxyz 0123456789

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Neoclassical & Didone:

Modern serifed typefaces developed in the late 18th and early 19th century and were a radical break from the traditional typography of the time with high contrast of strokes, straight serifs and a totally vertical axis. The work of Giambattista Bodoni epitomizes this style of type.

When they were first released, these typefaces were called “Classical” designs. Early on, however, it became apparent that these were not updated versions of classic type styles, but altogether new designs. As a result their classification name was changed to “Modern.” Since they are no longer modern, they are also classified as Neoclassical or Didone. Contrast between thick and thin strokes is abrupt and dramatic. The axis of curved strokes is vertical with little or no bracketing. In many cases, stroke terminals are “ball” shapes rather than the reflection of a broad pen.

These tend to be highly mannered designs, which are obviously constructed.

Examples: 1. Bodoni Classic 2. Walbaum 3. Marconi 12

BODONI MT:

ABCDEFGHIJKLMN OPQRSTUVWXYZ abcdefghijklmnopqrst uvwxyz 0123456789

Slab Serif:

Slab serif typefaces became popular in the 19th century for advertising display. These typefaces have very heavy serifs with minimal or no bracketing. Generally, changes in stroke weight are imperceptible. To many readers, slab serif type styles look like sans serif designs with the simple addition of heavy (stroke weight) serifs.

ROCKWELL:

ABCDEFGHIJKLMN OPQRSTUVWXYZ

Examples: 1. ITC Lubalin Graph 2. Rockwell 3. Egyptial Slate

abcdefghijklmnop qrstuvwxyz 0123456789

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Clarendon:

This category includes the typefaces patterned after the Clarendon type styles first released in the mid 19th century. Clarendons were designed as bold faces to accompany text composition. Their stroke contrast is slight, and serifs tend to be short to medium length. Later, many of these designs were released at larger point sizes as display types. Character stroke weight that is more obvious, and serifs that tend to be longer than earlier designs, mark more current interpretations of this style.

Examples: 1. Bookman 2. Clarendon 3. ITC Charter

BOOKMAN OLD STYLE:

ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklmnop qrstuvwxyz 0123456789

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Glyphic:

Typefaces in this category tend to emulate lapidary inscriptions rather than pen-drawn text. Contrast in stroke weight is usually at a minimum, and the axis of curved strokes tends to be vertical. The distinguishing feature of these typefaces is the triangular-shaped serif design, or a flaring of the character strokes where they terminate. In some type classification systems this category is sub-divided into two groups: “glyphic” and “latin.” “Latins” are faces with strictly triangular-shaped serifs.

Examples: 1. Albertus 2. Cartier Book 3. Qranklestein

QRANKLESTEIN:

ABCDEFGHIJKLMN OPQRSTUVWXYZ abcdefghijklmnop qrstuvwxyz 0123456789

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Sans Serif: Just exactly like what is sounds, a

sans-serif typeface is a typeface without serifs. In print, sans-serif fonts are often used for headlines rather than for body text. Sansserif fonts have become the most prevalent for display of text on computer screens. Additionally, on lower-resolution digital displays, fine details like serifs may disappear or appear too large.

Examples: 1. Calibri 2. Futura 3. Gotham

GOTHAM:

ABCDEFGHIJKL MNOPQRSTUVW XYZ abcdefghijklmn opqrstuvwxyz 0123456789

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Grotesque: These are the first commercially popular sans serif typefaces. Contrast in stroke weight is most apparent in these styles, there is a slight “squared” quality to many of the curves, and several designs have the “bowl and loop” lowercase g common to Roman types. In some cases the R has a curled leg, and the G usually has a spur. This category also includes more modern, sans serif designs patterned after the first grotesques. Stroke contrast is less pronounced than earlier designs, and much of the “squareness” in curved strokes has been rounded. Normally the most obvious distinguishing characteristic of these faces is their single bowl g and more monotone weight stress.

HELVETICA:

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Examples: 1. Helvetica 2. News Gothic 3. ITC Franklin Gothic

0123456789

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Square: These designs are generally based on Grotesque character traits and proportions, but have a definite and, at times, dramatic squaring of normally curved strokes. They usually have more latitude in character spacing than their sans serif cousins, and tend to be limited to display designs.

Examples: 1. Neo Sans 2. Eurostile 3. UA Square

UA SQUARE:

ABCDEFGHIJKLMN OPQRSTUVWXYZ abcdefghijklmnopqrst uvwxyz 0123456789

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Humanistic: These are based on the proportions of Roman inscriptional letters.

Frequently, contrast in stroke weight is readily apparent. Typographic experts claim that these are the most legible and most easily read of the sans serif typefaces. Humanistic sans serif typefaces also closely match the design characteristics and proportions of serif types, often with a strong calligraphic influence.

GILL SANS:

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Examples: 1. Gill Sans 2. ITC Goudy Sans 3. Frutiger

abcdefghijklmnopqrst uvwxyz 0123456789

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Geometric: Geometric sans-serif typefaces, as their name implies, are based on geometric forms. In some cases letters, such as the lower case ‘o’, are perfect geometric forms.

Examples: 1. ITC Bauhaus 2. Avenir 3. Harmonia Sans

BAUHAUS:

ABCDEFGHIJKLMN OPQRSTUVWXYZ abcdefghijklmno pqrstuvwxyz 0123456789

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Script:

Script typefaces are based on the forms made with a flexible brush or pen and often have varied strokes reminiscent of handwriting. There are many different classifications including Brush Script, English Roundhand and Rationalized Script.

However, the broadest forms of classification are Formal Script and Casual Script. Formal Scripts are based on the developments and writings of 17th and 18th century handwriting masters such as George Bickham, George Shelley and George Snell. Casual scripts developed in the 20th century as a result of phototypesetting and are more varied and the inconsistencies appear to have been a result of using a wet pen rather than a pen nib. Casual scripts developed in the 20th century as a result of photo-typesetting and are more varied and the inconsistencies appear to have been a result of using a wet pen rather than a pen nib.

Brush Script MT:

ABCDEFGHIJKLMN OPQRSTUVWXYZ abcdefghijklmnopqrst uvwxyz 0123456789

Examples: 1. Brush Script MT 2. Vivaldi 3. Freestyle Script

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Formal:

These typefaces are derived from 17th century formal writing styles.

Many characters have strokes that join them to other letters.

Examples: 1. Bickham Script 2. Helinda Rook 3. Elegy

Bickham Script:

A BC DE F G H I J KLM N OP QRS T U V W X YZ abcdefghijklmnopqrst uvwxyz 0123456789

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Casual:

These typefaces are designed to suggest informality, as if they were written quickly. Many times they appear to have been drawn with a brush. Normally, character strokes connect one letter to the next. These typefaces are designed to suggest informality, as if they were written quickly. Many times they appear to have been drawn with a brush.

Normally, character strokes connect one letter to the next.

Examples: 1. Brush Script 2. Freestyle Script 3. Nadianne

Freestyle Script:

ABCDEFGHIJKLMN OPQRSTUVWXYZ abcdefghijklmnopqrst uvwxyz 0123456789

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Calligraphic:

Letters associated with the art of calligraphy and the fonts developed from their production can be classified as calligraphic. Calligraphic letters can be, although do not have to be, classified as Chancery, Etruscan or Uncial. Chancery letters have slightly sloping narrow letters and were influential in the development of serif italics. Etruscan faces do not have lowercase letters and are based on an early form of Roman calligraphy in which the brush was held at a steep angle. The Celtic style, Uncial letters are created from holding the brush at an almost horizontal angle. There is only one case in Uncial designs, although they did become the basis for the development of the roman lower case.

Examples: 1. Vivaldi 2. Mistral 3. Blaze

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Vivaldi:

ABCDEFGH IJKLMNOP QRSTUVWX YZ abcdefghijklmnopqrst uvwxyz 0123456789

Blackletter and Lombardic:

Blackletter typefaces are a script style of calligraphy that were popularized in Germany, although they were used all over Europe from the middle ages through the Renaissance. A highly ornamental style of typgraphy, different styles are often associated with the different regions in which they were developed and used.

Examples: 1. Agincourt 2. Cresci Rotunda 3. Blackletter

Blackletter:

ABCDEFGHIJKLMN OPQRSTUVWXYZ abcdefghijklmnopqrst uvwxyz 0123456789

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Decorative: While serifed and sans-serif typefaces can often be used for text typesetting, there are a vast majority of fonts and typefaces whose legibility wanes when used in smaller point sizes. These typefaces are often developed with a specific use in mind and are designed for larger point size use in headlines, posters and billboards. Decorative is less of a classification and can include a wide variety of typefaces underneath the umbrella.

Examples: 1. KG Second Chances Sketches 2. Adam Gorry 3. Denne Shuffle Euro Hollow

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KG SECOND CHANCES SKETCHES:

ABCDEFGHIJKLMNO PQRSTUVWXYZ abcdefghijklmnop qrstuvwxyz 0123456789

Grunge:

“Grunge� was first to identify a specific type of music that originated in Seattle, a style that is influenced by punk, rock and heavy metal. Grunge fonts are aggressive, iconoclastic and often distorted designs. They are also commonly marked with a rough, jagged or distressed surface texture.

BAd Grunge::;;;;

ABCDEFGHIJKLMNOPQRSTUVW XYZ

Examples: 1. Blockade Regular 2. Killer Ants 3. Bad Grunge

0123456789

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Graffiti:

Graffiti is usually appeared as images or lettering scratched, scrawled, painted or marked in a similar manner on walls, fences, highway overpasses and similar structures.

Examples: 1. Angeleno 2. Chillin 3. Peinture Fraiche

peinture fraiche:

ABCDEFGHIJKLMNO PQRSTUVWXYZ 1234567890

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Differences in SERIF TYPEFACES

Old-style

DIFFERENCE

Centaur

Transitional

DIFFERENCE

Baskerville

Modern

DIFFERENCE

Bodoni MT

Slab

DIFFERENCE

Rockwell

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3

ANATOMY

Fonts: Myriad Pro light semi-extended, Minion Pro Display. Source: http://sabaki.aisites.com/endymion/anatomy.html

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Source: http://blend.bsujournalismworkshops.com/wp-content/uploads/sites/4/2012/04/Screen-shot-2012-04-11-at10.29.16-AM.png

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4

TERMINOLOGIES

Ascender:

Descender:

The part of a lowercase letter that rises above the main body of the letter (as in b, d, h). The part that extends above the x-height of a font.

Characters:

The individual letters, punctuation, numerals and elements that are used when setting type.

Ascender Line:

Descender line:

The imaginary horizontal line that represents the uppermost point of an ascender. A line marking the topmost point of the cap line.

Counter:

Baseline:

The imaginary line upon which text rests. Descenders extend below the baseline. Also known as the “reading line.”

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The lowest portion of letters such as ‘g,’ ‘j,’ ‘p.’ ‘q,’ and ‘y’ that extends below the baseline, or reading line of type. (See descender line.) The portion of a lowercase letter that extends below the base line of the letter.

The space entirely or partially enclosed within a letterform, such as the enclosed “bowl” of the letter b, d and p.

The lowest line that a character’s descender extends to, like the bottom stem of the lowercase ‘j’ and ‘y.’ A line marking the lowest point of the descenders within a font.

Kerning:

The adjustment of spacing between letters. The process of improving appearance and legibility by adjusting the white space between certain paired characters, such as ‘Ty’, ‘To’, or ‘Ye’, which are known as “kerning pairs.”

Lowercase:

The small letter of the alphabet often indicated as /c when combined with the uppercase they are indicated as U/lc.

Type:

Glyph:

A shape in a font that is used to represent a character code on screen or paper, e.g. the shapes of A, B, C characters in a Roman font.

Printed or typewritten letters or characters. As early as AD 400, the Chinese printed entire pages of characters through the use of wooden blocks. Johann Gutenberg cast the first metal type in the 15th century.

x-height:

The height of lowercase letters, excluding ascenders and descenders; often measured by the lowercase ‘x’.

Uppercase:

Meanline:

The capital letter, or caps, of the alphabet. The term derives from the early days of handset type when capital letters were stored in the upper section of the typecase.

An imaginary line that runs along the top of most lowercase letter such as a, c, e, I, m, n, etc.

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BIBLIOGRAPHY • http://www.fonts.com/content/learning/fontology/level-1/typeanatomy/type-classifications • http://www.typography1st.com/typo/classtyp.shtml 34