the typo book by Saket Raushan

the typo book 2014

SAKET RAUSHAN

2014

the typo book SAKET RAUSHAN -3

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Contents

History Typography and Publication

Form Study [with about each fonts and each alphabets]

Point Size [Pt 8 to 100]

Letter Spacing -Kerning and Tracking

Letter Anatomy

Typography Weight

Condensed and Expand

Posture

Counter Form [Fulltoo enjoyment]

10 Forms [Zara sa hatt ke] 11 Typographic Elements Alignments, Leading and Para Spacing 12 Poster Typographic Study Study of two little fonts of movie/ product / advertisement

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13 Logo Design 14 Paper Size Study 15 Digital Typographic Effects Software or Digital effects 16 Typographic Poster 17 Study of two font designers 18 Bibliography 19 Acknowledgement 20 Notes

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HISTORY Typography Publication

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Typography

Typography is a central component of design. It gives us an understanding of the heritage behind our craft. Itâ&#x20AC;&#x2122;s one of the primary ways we, as a society, pass on information to others. Imagine a website, a magazine or even TV without text. Typography is a subject that raises passions and it can become a consuming obsession. If this subject is relatively new to you, or perhaps something you want to know more about, then this guide can start you on that journey.

Typography traces its origins to the first punches and dies used to make seals and currency in ancient times. The uneven spacing of the impressions on brick stamps found in the Mesopotamian cities of Uruk and Larsa, dating from the 2nd millennium BC, may have been evidence of type where the reuse of identical characters were applied to create cuneiform text. Babylonian cylinder seals were used to create an impression on a surface by rolling the seal on wet clay. Computer technology revolutionized typography in the 20th century. Personal computers in the 1980s like the Macintosh allowed type designers to create types digitally using commercial graphic design software. Digital technology also enabled designers to create more experimental typefaces, alongside the practical fonts of traditional typography.

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Publication

“Publication” is a technical term in legal contexts and especially important in copyright legislation. An author of a work generally is the initial owner of the copyright on the work. One of the copyrights granted to the author of a work is the exclusive right to publish the work. The definition of “publication” as “distribution of copies to the general public with the consent of the author” is also supported by the Berne Convention, which makes mention of “copies” in article 3(3), where “published works” are defined.

The history of publishing is characterized by a close interplay of technical innovation and social change, each promoting the other. Publishing as it is known today depends on a series of three major inventions— writing, paper, and printing—and one crucial social development—the spread of literacy. Before the invention of writing, perhaps by the Sumerians in the 4th millennium bc, information could be spread only by word of mouth, with all the accompanying limitations of place and time. Writing was originally regarded not as a means of disseminating information but as a way to fix religious formulations or to secure codes of law, genealogies, and other socially important matters, which had previously been committed to memory. Publishing could begin only after the monopoly of letters, often held by a priestly caste, had been broken, probably in connection with the development of the value of writing in commerce.

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Form Study

[Knowledge from A to Z Letters]

Each individual letter of the alphabet has embarked on a fun, lively, and a learned excursion into the alphabet and into its cultural history. Clearly explaining the letters as symbols of precise sounds of speech, the alphabet begins with the earliest known alphabetic inscriptions (circa 1800 B.C.), recently discovered by archaeologists in Egypt. It also traces the history of our alphabet through the ancient Phoenicians, Greek, and Romans and up through medieval Europe to the present day. Each letter of the alphabet identifies the letterâ&#x20AC;&#x2122;s particular significance, the historical development, and its noteworthy role in literature.

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Arial

Narrow Regular Italic Bold Bold Italic Black

Arial, sometimes marketed or displayed in software as Arial MT, is a sans-serif typeface and set of computer fonts. Fonts from the Arial family are packaged with all versions of Microsoft Windows, some other Microsoft software applications, Apple Mac OS X and many PostScript 3 computer printers. The typeface was designed in 1982 by a 10-person team, led by Robin Nicholas and Patricia Saunders, for Monotype Typography. Contemporary sans serif design, Arial contains more humanist characteristics than many of its predecessors and as such is more in tune with the mood of the last decades of the twentieth century. The overall treatment of curves is softer and fuller than in most industrial style sans serif faces. Terminal strokes are cut on the diagonal which helps to give the face a less mechanical appearance. Arial is an extremely versatile family of typefaces which can be used with equal success for text setting in reports, presentations, magazines etc, and for display use in newspapers, advertising and promotions.

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Arial

ABCDEFGHIJK LMNOPQRSTUV WXYZ abcdefghijklmn opqrstuvwxyz 1234567890?!& <>;:/-_@ Knowledge from letter “A” It was letter number 1 for the ancient Greeks (800 B.C.) and, in an earlier form, for the Phoenicians (5000 B.C.). Almost certainly it came first in the earliest Near Eastern letter list of 2000 B.C. A is of course a vowel letter. The letter also has about a dozen possible sounds in English. The “ah” sound is fundamental to human speech. Yet it wasn’t always so. Three or four thousand years ago, the first letter didn’t say “ah”. Like every other vowel letter in our alphabet. A began life as a consonant, with a different sound. Being the doorway to literacy, A has enjoyed the richest symbolic value of any letter, it also represents success at school. The use of A, B, C, D and F to grade students’ work is documented in the United States since the late 19th Century. The letter A can signal “top service” in commerce and in name branding.

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Baskerville Old Face

Regular

Baskerville is a transitional serif typeface designed in 1757 by John Baskerville (1706–1775) in Birmingham, England. Baskerville is classified as a transitional typeface, positioned between the old style typefaces of William Caslon, and the modern styles of Giambattista Bodoni & Firmin Didot. The Baskerville typeface is the result of John Baskerville’s intent to improve upon the types of William Caslon. He increased the contrast between thick and thin strokes, making the serifs sharper and more tapered, and shifted the axis of rounded letters to a more vertical position. The curved strokes are more circular in shape, and the characters became more regular. These changes created a greater consistency in size and form. Baskerville’s typeface was the culmination of a larger series of experiments to improve legibility which also included paper making and ink manufacturing. The result was a typeface that reflected Baskerville’s ideals of perfection, where he chose simplicity and quiet refinement. After falling out of use with the onset of the modern typefaces such as Bodoni, Baskerville was revived in 1917 by Bruce Rogers, for the Harvard University Press and released by Deberny & Peignot.

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Baskerville Old Face

ABCDEFGHIJK LMNOPQRSTU VWXYZ abcdefghijklmno pqrstuvwxyz 1234567890?!&< >;:/-_@ Knowledge from letter “B” The oldest version of B appears in the earliest-known alphabetic inscriptions, discovered at Wadi el- Hol in central Egypt and dated to 1800 B.C. It symbolizes a sound that is basic to human speech and categorized by linguist as the vooiced bilabial stop- in other words, the sound engages the vocal cords, is formed by two lips, and involves stoppage of air through the nose. With no tricky use of tongue or teeth, “b” is relatively easy to say, Babies say it all the time (the thirsty 16 month old wants her “bah-bah”, and many of the world’s languages, past and present, have included it. It is a consonant sound. Therefore, B is a consonant letter, the first in alphabetical sequence is A. We get the term “consonant” via medieval French from an ancient Latin word, consesans “sounding alongwith”.

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Adobe Caslon Pro

Regular Italic Semibold Semibold Italic Bold Bold Italic

William Caslon released his first typefaces in 1722. Caslon’s types were based on seventeenth-century Dutch old style designs, which were then used extensively in England. Because of their remarkable practicality, Caslon’s designs met with instant success. Caslon’s types became popular throughout Europe and the American colonies; printer Benjamin Franklin hardly used any other typeface. The first printings of the American Declaration of Independence and the Constitution were set in Caslon. For her Caslon revival, designer Carol Twombly studied specimen pages printed by William Caslon between 1734 and 1770. The OpenType® Pro version merges formerly separate fonts (expert, etc.), and adds both central European language support and several additional ligatures. Ideally suited for text in sizes ranging from 6- to 14-point, Adobe Caslon Pro is the right choice for magazines, journals, book publishing, and corporate communications.

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Adobe Caslon Pro

ABCDEFGHIJK LMNOPQRSTU VWXYZ abcdefghijklmn opqrstuvwxyz 1234567890?!& <>;:/-_@ Knowledge from letter “C” After Rome’s fall in around A.D. 500, the slurred C became part of the Romance languages (Italian, French, Spanish, Portugese, Romanian, to name the main ones) which arose from dying Latin. The letter C didn’t exist until after the Greeks and into the Etruscan writing in which reflect various styles of the early Greek gamma. The form that soon predominated was a stubby crescent, and copied from the crescent gamma favored at certain Greek cities of Italy and Sicily. This Etruscan crescent, meaning the sound “K” marks the beginning of our C. Critics have chafed at C’s inconstancy. As used in English, the letter has sounds that are too diverse. Not always pronounced as “k”, it turns into the sound “s” before E, I or Y, according to a fundamental rule of our spelling. Thus we have hard C and soft C.

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DeVinne Txt BT

Regular

Elzevir, originally designed in the late 18th century, was revived in France in the 1880s and enjoyed a return to popularity in the USA, inspiring Gustav Schroeder’s “De Vinne” of 1893 (Elzevir Bold, really), which became the most popular typeface of the 1890s. It was named after Theodore De Vinne, the leading figure in American typography. He was a printer in the wide sense of the term as it was then employed, a publisher of books and magazines, instigator of coated paper, co-founder of the Grolier Club for bibliophiles, and an authority on typography who wrote extensively on the subject. Of the eponymous face, The DeVinne Press suggested a return to the simplicity of the true old-style character, but with the added features of thicker lines and adjusted proportion in shapes of letters. Mr. St. John approved, but insisted on grotesques to some capital letters in the belief that they would meet a general desire for more quaintness. Mr. Werner of the Central Type Foundry was instructed to draw and cut the proposed face in all sizes from 6- to 72-point, which task he executed with great ability.

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DeVinne Txt BT

ABCDEFGHIJK LMNOPQRSTU VWXYZ abcdefghijklmn opqrstuvwxyz 1234567890?!& <>;:/-_@ Knowledge from letter “D” The D letter, at place number 4, was named dalet or daleth (door); as always in the Phoenician system, the sound of the letter was also the opening sound of the letter’s name. Today the Hebrew D letter, at number 4, is still called dalet, understood as meaning “door”. Constancy and plainness are its virtues. Long before the birth of English, the D already stood for “door”. To say “d”, you place your tongue tip at the roof of your mouth, just behind your teeth, and push off, sounding from your vocal cords. Try it again with no vocal cords, and you’ll say “t”. Thus T is the “unvoiced” counterpart of D. There was no minuscule or lowercase form in Roman writing; every letter was a capital.

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Estrangelo Edessa

Regular

Estrangelo Edessa is a Unicode encoded OpenType font file supporting the Syriac script. The font contains TrueType character outlines and has been optimized for display on screen at small sizes, within software user interface elements such as button descriptions and dialog box text. The Syriac letter forms were designed by Paul Nelson and George Kiraz. Some symbols, including numerical symbols are based on the monospaced Courier type design.

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Estrangelo Edessa

ABCDEFGHIJKLM NOPQRSTUVWXY Z abcdefghijklmno pqrstuvwxyz 1234567890?!&< >;:/-_@ Knowledge from letter “E” The “ee” of English long E is one of three vowel sounds identified by researchers as typically the earliest sounds of infant speech the world over. The other two sounds are “ah” or “oo”. As the three are universal to human speech, any infant will hear them in the cradle, and because they are easy to articulate- vowels in general requiring no tricky use of the tongue or throat- a baby might here find her first success in imitating adult speech. E can represent many shades of vowel sounds; about 25 sounds in all. E could be said to cheat a bit. Unlike other letters in our spelling, E regularly gets to show up and say nothing. It has an important silent role, which adds greatly to its number of appearance.

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Franklin Gothic Book

Regular Italic

Franklin Gothic and its related faces are realist sans-serif typefaces originated by Morris Fuller Benton (1872–1948) in 1902. “Gothic” is an increasingly archaic[citation needed] term meaning sans-serif. Franklin Gothic has been used in many advertisements and headlines in newspapers. The typeface continues to maintain a high profile, appearing in a variety of media from books to billboards. Despite a period of eclipse in the 1930s, after the introduction of European faces like Kabel and Futura, they were re-discovered by American designers in the 1940s and have remained popular ever since. Franklin Gothic is an extra-bold sans-serif type which can be distinguished from other sans serif typefaces, as it has a more traditional double-story g and a. Other main distinguishing characteristics are the tail of the Q and the ear of the g. The tail of the Q curls down from the bottom center of the letterform in the book weight and shifts slightly to the right in the bolder fonts. It draws upon earlier, nineteenth century models, from many of the twenty-three foundries consolidated into American Type Founders in 1892. Historian Alexander Lawson speculated that Franklin Gothic was influenced by Berthold’s Akzidenz-Grotesk types but offered no evidence to support this theory which was later presented as fact by Philip Meggs and Rob Carter.

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Franklin Gothic Book

ABCDEFGHIJKL MNOPQRSTUVW XYZ abcdefghijklmn opqrstuvwxyz 1234567890?! &<>;:/-_@ Knowledge from letter “F” We’ve seen the F shape letter to mean the sound “w”. W served the Etruscans for seven centuries, until Etruscan culture and language finally evaporated amid the dominance of Rome. The switch from “w” to “f” came with the Romans, who copied the Etruscan alphabet shortly before 600 B.C. F is our alphabet’s sixth letter, For obvious reasons, F has never been a favourite of English language product marketing, Adding to F’s tacky aura is our second f-word, “failure”, which in the late 19th Century suggested F, not E, as a pupils flunking grade, below D.

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Adobe Garamond

Regular Italic Bold

g G

Garamond is the name given to a group of old-style serif typefaces named after the punch-cutter Claude Garamont (also spelled as Garamond, Latinised as garamondus) (c. 1480–1561). Many of the Garamond faces are more closely related to the work of a later punch-cutter, Jean Jannon. A direct relationship between Garamond’s letterforms and contemporary type can be found in the Roman versions of the typefaces Adobe Garamond, Granjon, Sabon, and Stempel Garamond. Garamond is considered to be among the most legible and readable serif typefaces for use in print (offline) applications. While some unscientific studies have periodically noted that it uses much less ink than Times New Roman, expert analysis points out that the savings is due to it being 15% smaller at a given point size. Garamond, along with Times New Roman and Century Gothic, has been identified by the GSA as a “toner-efficient” font.

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Adobe Garamond

ABCDEFGHIJK LMNOPQRSTUV WXYZ abcdef ghijklmn opqrstuvwxyz 1234567890?!&< >;:/-_@ Knowledge from letter “G” G goes back to the earliest Semitic alphabets, as exemplified by the Phoenician alphabet of 1000 B.C. The soft letter G of modern English occurs mainly in words derived from medieval French: gentry, pageant, giant, engine, and there are among hundreds of examples. G is a more complex letter than its straight forward fellows B asnd D. G actually has five possible pronounciations, including a silent one, all demonstrated in the Prohibition- erque phrase “mighty rough garage gin”.

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Hoefler Text

Regular

Hoefler Text is a contemporary serif Antiqua font that was designed for Apple Computer to demonstrate advanced type technologies. Hoefler Text was created to allow the composition of complex typography; as such it takes cues from a range of classic fonts, such as Garamond and Janson. Designed by Jonathan Hoefler in 1991, a version of Hoefler Text has been included with every version of Mac OS since System 7.5. Hoefler Text incorporates automatic ligatures, the round and long s, real small capitals, old style figures and swashes. Hoefler Text also has a matching ornament font. It was, until OpenType made advanced typographic features more common, one of only a few fonts in common usage that contained old style, or ranging, figures[citation needed], which are designed to harmonize with standard upper- and lowercase text. Since the introduction of the font, Hoefler Text has been expanded to include additional typographic features, and versions of the font published by Hoefler & Frere-Jones now include three weights, swash caps, italic small capitals, and two sets of engraved capitals.

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Hoefler Text

ABCDEFGHIJK LMNOPQRSTU VWXYZ abcdefghijklmn opqrstuvwxyz 1234567890?!&< >;:/-_@ Knowledge from letter “H” Due to its weak phonetics, H has a history of fading out of words in English and other languages over time. H has been the subject of humiliating debates by grammarians down the centuries, as to whether or alphabet. The letter H barely qualifies as a letter. H is our eight letter, and also our “least” letter too. It’s problem is its sound. All other letters represent sounds created by expelled breath interacting with elements like the vocal cords, throat, tongue, teeth, or lips. The H can lay claim to the expelling of breath part but nothing else; uniquely, its sound involves no other pronounciations.

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Impact

Regular

Impact is a realist sans-serif typeface designed by Geoffrey Lee in 1965 and released by the Stephenson Blake foundry. Its ultra-thick strokes, compressed letterspacing, and minimal interior counterform are specifically aimed, as its name suggests, to â&#x20AC;&#x153;impactâ&#x20AC;?. Impact has a high x-height, reaching nearly to three-quarters the capital line. Ascenders are short, and descenders even shorter. The face is intended for headlines and has only limited use in text applications. The face bears comparison with the similarly designed, but narrower, typeface Haettenschweiler, the Letraset face Compacta, and the Linotype face Helvetica Inserat. In July 2010, Ascender Corp introduced an enhanced version of Impact. It included extensive OpenType typographic features designed by Terrance Weinzierl and Steve Matteson. Impact is included in the Core fonts for the Web and has been distributed with Microsoft Windows since Windows 98. More recently, it has been used extensively in image macros and internet memes.

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Impact

ABCDEFGHIJKLMNO PQRSTUVWXYZ abcdefghijklmno pqrstuvwxyz 1234567890?! &<> ;:/-_@ Knowledge from letter “I” Letter I’s most distinctive feature is visual; the starkness of its shape. It is the skinniest and simplest of our letters. Traditionally, capital I has been essential to type designers, as the starting point from the creation of the a typefacer. I is by some count is the fourth most often used letter in English print. Now count the I’s in the preceding sentence and you’ll see what “I” mean-- and what “I” can do, and how busy “I” may be. The letter “I” is one of our five main vowel letters. I’s strong showing is due partly to its place in the verb “is” and in the “ing” ending of English participles and grounds. Lowercase “i” is the alphabet’s smallest letter.

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Janson Text-Roman

Jj Regular

Although designed by the Hungarian Nicholas Kis in about 1690, the model for Janson Text was mistakenly attributed to the Dutch printer Anton Janson. Kisâ&#x20AC;&#x2122; original matrices were found in Germany and acquired by the Stempel foundry in 1919. This version of Janson comes from the Stempel foundry and was designed from the original type; it was issued by Linotype in digital form in 1985. In the 1930s, Janson Text replaced Caslon as the face of choice for fine bookmaking. Its strong design and clear stroke contrast combine to create text that is both elegant and easy to read. Janson Text Std family is designed to be used at a text size of 12.0 points.

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Janson Text-Roman

ABCDEFGHIJK LMNOPQRSTU VWXYZ abcdefghijklmn opqrstuvwxyz 1234567890?!& <>;:/-_@ Knowledge from letter â&#x20AC;&#x153;Jâ&#x20AC;? The story of J is our 10th letter in alphabetical order, but historically one of the two last letters (with V) to join the Roman alphabet. In English spellings, J had arrived by 1640. Many modern uses of English J go back to Latin consonantal I. The Roman gods whom we call Jupiter, Juno, and Janus actually had Latin names Iuppiter, Iuno, and Ianus. J was born from I, the preceding letter in alphabetical order.

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Korinna

Regular Kursiv Italic Bold Bold Italic Bold Kursiv

Korinna is a German jugendstil (Art Nouveau) serif typeface, first released by the H. Berthold AG type foundry in 1904. A revival of the typeface was designed in 1974 by Ed Benguiat and Vic Caruso for the International Typeface Corporation (ITC). Their version follows the formulary ITC approach of increased x-height, and multiple weights from light to ultra. The face is named for the c. sixth century BC Greek female poet.

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Korinna

ABCDEFGHIJK LMNOPQRSTU VWXYZ abcdefghijklm nopqrstuvwxy z 1234567890?! &<>;:/-_@ Knowledge from letter “K” Miraculously, Roman K survived more than 1,000 years, roughly 600 B.C. to A.D. 500, in its shunned position as the leastused letter of Latin writing. Indeed, K saves C’s skin in some spellings. For example, as in the change from “panic” to “panicky” or “shellac” to “shellacking”, where K is inserted to denote the “k” sound. K standing at about number 22 or 21 in frequency of use, fourth or fifth to last. From K’s viewpoint, C hogs the limelight and quite underservingly- for C is far less consistent in sound than K. In other words, the letter K is portrayed as the ugly duckling.

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Lucida Bright

Regular Italic Demibold Demibold Italic

Lucida is an extended family of related typefaces designed by Charles Bigelow and Kris Holmes in 1985. There are many variants called Lucida, including scripts (Blackletter, Calligraphy, Handwriting), serif (Fax, Bright), and sans-serif (Sans, Sans Unicode, Grande, Sans Typewriter). Bigelow & Holmes, together with the (now defunct) TeX vendor Y&Y, extended the Lucida family with a full set of TeX mathematical symbols, making it one of the few typefaces that provide full-featured text and mathematical typesetting within TeX. Based on Lucida Serif, it features more contrasted strokes and serifs. The font was first used as the text face for Scientific American magazine, and its letter-spacing was tightened to give it a slightly closer fit for use in two and three column formats.

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Lucida Bright

ABCDEFGHIJK LMNOPQRSTUV WXYZ abcdefghijklm nopqrstuvwxy z 1234567890?! &<>;:/-_@ Knowledge from letter “L” The letter L goes all the way back to the world’s oldest known alphabetic writing, the stone- carved inscriptions at Wadi enHol in central Egypt, from about 1800 B.C. In many languages’ poetry, the letter L, has conveyed softness, calm, flux, childishness, slipperiness, departure, or gradual release or surrender, including sexual. The sound of L is considered among the loveliest of human speech. L’s sound comes from using your vocal cords while you push air pass the sides of your tongue as it partly blocks your mouth with its tip at the palate.

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Myriad Pro

Cond Cond Italic Bold Cond Bold Cond Italic Regular Italic Semibold Semibold Italic Bold Bold Italic

Myriad is a humanist sans-serif typeface designed by Robert Slimbach and Carol Twombly for Adobe Systems. The typeface is best known for its usage by Apple Inc., replacing Apple Garamond as Apple’s corporate font since 2002. Myriad is easily distinguished from other sans-serif fonts due to its special “y” descender (tail) and slanting “e” cut. Myriad is similar to Frutiger. Since the launch of the eMac in 2002, Myriad has replaced Apple Garamond as Apple Inc.’s corporate font. It is now used in all of Apple’s marketing and on its products (See Apple typography). More recent iterations of the iPod (from the iPod photo onward) used Podium Sans, which has similarities with Myriad (as opposed to Chicago), for its user interface. However, the iPod Touch and iPhone 3G replaced Podium Sans with Helvetica. A different humanist sans-serif typeface, Lucida Grande, is used as the system font for Apple’s Mac OS X operating system. Myriad was included with the third generation of iPod.

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Myriad Pro

ABCDEFGHIJKLM NOPQRSTUVWXY Z abcdefghijklmno pqrstuvwxyz 1234567890?!&< >;:/-_@ Knowledge from letter “M” The letter M, thus representing a primordial sound of human speech, has been a member of the alphabet from the start. Letters believed to be M’s appear as vertical wavy lines in the world’s oldest extant alphabetic writing, the two rock-carved Semitic-language inscriptions at Wadi el-Hol in central Egypt, from about 1800 B.C. Numerous studies confirm that ma is amonghe earliest rudimentary speech noises made by infants the world over. M belongs to the category of consonants known as labials, from the Latin word for “lip”. Formed at the lips, wiht no tricky use of the tongue and no need of teth, the three labial sounds are simple enough to be spoken by infants as young as age two or three months.

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Times New Roman

Regular Italic Bold Bold Italic

Times New Roman is a serif typeface commissioned by the British newspaper The Times in 1931, created by Victor Lardent at the English branch of Monotype. It was commissioned after Stanley Morison had written an article criticizing The Times for being badly printed and typographically antiquated. The font was supervised by Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older font named Plantin as the basis for his design, but made revisions for legibility and economy of space. Morisonâ&#x20AC;&#x2122;s revision became known as Times New Roman and made its debut in the 3 October 1932 issue of The Times newspaper. After one year, the design was released for commercial sale. The Times stayed with Times New Roman for 40 years, but new production techniques and the format change from broadsheet to tabloid in 2004 have caused the newspaper to switch font five times since 1972. However, all the new fonts have been variants of the original New Roman font. Some experts believe that the design was based on an earlier original work of William Starling Burgess. This theory remains controversial.

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Times New Roman

ABCDEFGHIJK LMNOPQRSTUV WXYZ abcdefghijklmn opqrstuvwxyz 1234567890?!& <>;:/-_@ Knowledge from letter “N” Modern scholarships have determined that N was invented (by Semitic soldiers or laborers in Egypt) through copying of an Egyptian hieroglyphic picture of a snake. Two letters could hardly be closer than N and M, fraternal twins in shape, name, sound, and positioning. Most of the letter N’s life has been lived in relation to the letter M. The N is classified as a “nasal”, a consonant pronounced through the nose. N and M are the only nassals in English.

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Old English Text MT

Regular

Blackletter, also known as Gothic script, Gothic minuscule, or Textura, was a script used throughout Western Europe from approximately 1150 to well into the 17th century. It continued to be used for the German language until the 20th century. Fraktur is a notable script of this type, and sometimes the entire group of Blackletter faces is incorrectly referred to as Fraktur. Blackletter is sometimes called Old English, but it is not to be confused with the Old English language, despite the popular, though mistaken, belief that the language was written with blackletter. The Old English, or Anglo-Saxon, language predates blackletter by many centuries, and was itself written in the insular script, or Futhorc runes before that. Textualis, also known as textura or Gothic bookhand, was the most calligraphic form of black letter, and today is the form most associated with “Gothic”. Johannes Gutenberg carved a textualis typeface – including a large number of ligatures and common abbreviations – when he printed his 42-line Bible. However, the textualis was rarely used for typefaces afterwards.

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Old English Text MT

ABCDEFGHIJ KLMNOPQRS TUVWXYZ abcdefghijklmno pqrstuvwxyz 1234567890?!& <>;:/-_@ Knowledge from letter “O” The story of O’s distinctive shape begins in ancient Egypt, with the painted image of a human eye. An eye was one of the symbols of Egyptian hieroglyphic writing. O is perhaps our most expressive letter, and one of our hardest working. While all five of our full-time vowels are essential for writing Englsih, O ranks near the top, as a letter heavily replied on and individually esteemed. Among O’s feature points are its many shades of pronounciation in English, its uses as a word unto itself; and it’s beautiful written form- a circle, a ring, intrguing and satisfying ot the eye.

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Adobe Prestige Elite

Regular Slanted Bold Bold Slanted

Prestige Elite was designed in 1954 by Howard Kettler for IBM andwas originally intended for typewriters. It falls under the slab-serif group within the Vox+ Classification System. Although it no longer meets the current standards with regard to legibility, it still has an aesthetic value. Prestige Elite is a so-called monospaced or non-proportional typeface whereby each letter takes up the same amount of white space. This can clearly be seen with characters such as the ‘i’, ‘f’ and ‘r’ which would normally be drawn much narrower and with characters such as the ‘w’ and the ‘m’ which are much wider in proportional types and are extremely narrow in prestige Elite.

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Perpetua

ABCDEFGHIJKLM N O P Q R S T U V W XY Z abcdefghijklmnop qrstuvwxyz 1234567890?!&< >;:/-_@ Knowledge from letter “P” When the Greeks adpoted the Phoenician alphabet in around B.C., they copied the letter P (pe) closely; The letter’s space, sound, and alphabetic place remained the same in the newborn Greek alphabet. While the letter’s Greek name was tweaked to “pee”- pronounced just like or letter name but spelled pi. Back in the ancient Rome alphabet, the cane- shape P letter gradually transformed into the capital shape we know today. Pushing off from the lips, P exemplifies the category of consonants known as stops. Stops make sound by expulsion of breath, during which the nasal passage is momentarily stopped from within.

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Futura

Book Book Italic

q Q

In typography, Futura is a geometric sans-serif typeface designed in 1927 by Paul Renner. It was designed as a contribution on the New Frankfurt-project. It is based on geometric shapes that became representative of visual elements of the Bauhaus design style of 1919â&#x20AC;&#x201C;33. Commissioned by the Bauer Type Foundry, in reaction to Ludwig & Mayerâ&#x20AC;&#x2122;s seminal Erbar of 1922, Futura was commercially released in 1936. Futura has an appearance of efficiency and forwardness. The typeface is derived from simple geometric forms (near-perfect circles, triangles and squares) and is based on strokes of near-even weight, which are low in contrast. This is most visible in the almost perfectly round stroke of the o, which is nonetheless slightly ovoid. In designing Futura, Renner avoided the decorative, eliminating nonessential elements. The lowercase has tall ascenders, which rise above the cap line. The uppercase characters present proportions similar to those of classical Roman capitals.

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Futura

ABCDEFGHIJKL MNOPQRSTUVW XYZ abcdefghijklmn opqrstuvwxyz 1234567890?! &<>;:/-_@ Knowledge from letter “Q” Q has almost always been a dark horse, running from behind. The Phoenician alphabet of 1000 B.C. had two K letters: kaph, ancestor of our K, and qoph, ancestor of Q. Adding to Q’s marginality, traditionally, has been its fancy shape, its lippursing name, and the fact that Q tended to stand for things considered mysterious. In the old days, to start with, Q seemed exotic, foreign, potentially strange or embarrassing. This was due first of all to its low rate of use. The letter Q is nearly the least often used letter of English print, falling second, third, or fourth to last.

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Monotype Rockwell

Light Light Italic Regular Italic Bold Bold Italic Extra Bold Condensed Bold Condensed

The Rockwell font family is a slab serif typeface originally modeled after a 1910 font called Litho Antiqueâ&#x201E;˘. Revived by Morris Fuller Benton in the 1920s, the font was redesigned and published in 1934 by Monotype in a project spearheaded by Frank Hinman Pierpont. Slab serifs in general may remind readers of older poster fonts and Western movie paraphernalia. Early slab serif fonts were created in the nineteenth century, usually from wood, which was notoriously hard to carve into the small details required for intricate type. Slab serif lettering rapidly became very popular in any areas in which wooden faces were commonly used. Later, smaller versions were deliberately cut in metal as an alternative to the regular serif and sans serif fonts available at the time. One of the earliest manufacturers of such type was the Inland Type Foundry, founded in 1892 by the three Schraubstadter brothers.

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Rockwell

ABCDEFGHIJKL M N O P Q R ST UVW XY Z abcdefghijklmn opqrstuvwxyz 1234567890?!& < > ;:/ - _ @ Knowledge from letter “R” The history of R is among the most gratifying of any letter’s, R appears in the oldest known alphabetic writing: the two rockcarved Semitic inscriptions at Wadi el-Hol in central Egypt, from about 1800 B.C. These Semitic inscriptions contain perhaps three examples of a letter shape that could be a human head in profile. Modern experts, drawing on information from later stages of the alphabet, identify this as the early Semitic R letter, called resh. R’s name displays the letter’s remarkable sound, in which a sound is created by vibration of the palate, throat, and tongue, with the tongue approaching the palate.

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Linotype Syntax

Light Light Italic Regular Italic Medium Medium Italic Bold Bold Italic Heavy Heavy Italic Black Black Italic

Hans Eduard Meier (born 1922) designed this distinctive sans-serif that stems from the Renaissance humanists. As such it does not fall into the category of the ‘Swiss’ types but distinguishes itself with its dynamic, a more tangible than visible slant and diagonals with characteristic terminals perpendicular to the stroke direction. All this makes it excellent for use as a body type. Although Meier had designed Syntax back in 1955, it only appeared on the market in 1968 as one of the very last typefaces made for cast metal typesetting. Between 1995 and 1999 Syntax was entirely re-drawn. In 2001 a ‘real’ italic was added as well as more styles, small capitals an old style figures. Most importantly, the Syntax family was extended with a Letter and a Serif variant.

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Snap ITC

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z 1 2 3 4 5 6 7 8 9 0 ? ! & < > ; : / - _ @ Knowledge from letter â&#x20AC;&#x153;Sâ&#x20AC;? Shape-wise, the letter S has been sinuous from the start. The primitive Semitic language inscriptions at Serabit el-Khadem in Sinai, from perhaps 1750 B.C., include examples of a letter shaped like a curlicue W. The letter S is the primary sibilane in English, a sibilant being a hissing or hushing sound or a symbol representing same. For English spellings, S does most of the work. Among the 26 letters, S ranks about number 8 in frequency of use in printed English. It also ranks number 1 as an initial letter: More of our words start with letter S than with any other.

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Tahoma

Regular Bold

Tahoma is a humanist sans-serif typeface designed by Matthew Carter for the Microsoft Corporation in 1994 with initial distribution along with Verdana for Windows 95. While similar to Verdana, Tahoma has a narrower body, less generous counters, much tighter letter spacing, and a more complete Unicode character set. Tahoma was first designed as a bitmap font, and TrueType outlines were “carefully wrapped” around those bitmaps. The bold weight was based upon a double pixel width, rendering it closer to a heavy or black weight. It has a distinct advantage over such fonts as Arial for use with technical material in that uppercase “I” (eye) is distinguished from lowercase “l” (ell). Since 2010, Italic and small caps versions are available from Ascender Corporation. Tahoma is often compared to the humanist sans-serif typeface Frutiger. In an interview with Daniel Will-Harris, Matthew Carter acknowledges some similarities with his earlier typeface Bell Centennial. The Tahoma typeface family was named after the Native American name for the stratovolcano Mount Rainier (Mount Tahoma) which is a prominent feature of the southern landscape around the Seattle metropolitan area.

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Tahoma

ABCDEFGHIJKL MNOPQRSTUVW XYZ abcdefghijklmn opqrstuvwxyz 1234567890?!& <>;:/-_@ Knowledge from letter “T” The Phoenician letter T was the last letter of that alphabet, number 22. Called by the Semitic name taw, it took the “t” sound that begun its name. The Taw’s shape was unusually cruciform, either perfectly even, like a plus sign, or favored lengthwise, like a church cross. The sign or image of the cross. The image of containment or suppression. Associations like these have given the letter T, a sometimes sinister or daunting air through centuries. T is fundamental to English language and spelling. Surprisingly, it is our second most often used letter in print.

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Ubuntu

Light Light Italic Regular Italic Medium Medium italic Bold Bold Italic

Ubuntu Font Family is an OpenType font, designed to be a modern humanist-style font by London-based type foundry Dalton Maag, with funding by Canonical Ltd. The font was under development for nearly nine months, with only a limited initial release through a beta program, until September 2010. It was then that it became the new default font of the Ubuntu operating system in Ubuntu 10.10. The Ubuntu Font Family is licensed under the Ubuntu Font Licence. The Ubuntu Font Family is the default font for the current and development releases of the Ubuntu operating system and is used for the Ubuntu project branding. The Ubuntu Font Family has been included in the Google Fonts directory, making it easily available for web typography, and as of April 26, 2011 it is included for use in Google Docs.

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Ubuntu

ABCDEFGHIJKL MNOPQRSTUVW XYZ abcdefghijklmn opqrstuvwxyz 1234567890?!& <>;:/-_@ Knowledge from letter “U” V-shaped U’s parade across imperial Roman inscriptions and they appear in various ancient Roman ink styles. rounded U first appears systematically in the late Roman pen style known as uncial, which emerged around A.D. 300. The letter U, our fifth vowel, has two daughters: the consonants V and W, which follow U in alphabetical order. V and W were born gradually from U, during the European Middle Ages and Renaissance. Before that, in ancient Roman times, the letter U was alone. (the Roman alphabet’s order was as follows: T,U,X,Y,Z) Today this Roman letter U for “w” lives on in English, whenever U falls between Q and a vowel: quart, quest, require. Also, occasionally where the letter U falls between S and a vowel or between g and a vowel: suave, persuade, sanguine, language.

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Verdana

Regular Italic Bold Bold Italic

Verdana is a humanist sans-serif typeface designed by Matthew Carter for Microsoft Corporation, with hand-hinting done by Thomas Rickner, then at Monotype. Demand for such a typeface was recognized by Virginia Howlett of Microsoft’s typography group. The name “Verdana” is based on verdant (something green), and Ana (the name of Howlett’s eldest daughter). Characteristics of the typeface are: Lower case square dot over the letter i the lowercase j has a short bar on top that protrudes left double-story a Upper case the capital Q’s tail is centered under the figure the uppercase J has a slight hook there are two versions of uppercase R, one with a straight tail and one with a curved tail. the uppercase I has short bars on the top and bottom

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Verdana

ABCDEFGHIJKL MNOPQRSTUVW XYZ abcdefghijklm nopqrstuvwxyz 1234567890?! &<>;:/-_@

Knowledge from letter â&#x20AC;&#x153;Vâ&#x20AC;? V is one of the youngest letters in Englsih. It was fully accepted into our alphabet only in the mid- 19th century. Prior to that, although V was appearing systematically in print by year 1700, it was considered by some people to be a consonantal variant of U, respectively- that is, variant of the vowel it now follows in letter order. V was born from U. The letter emerged as latter-day response to vast European language changes that began before the Roman Empire collapsed (A.D. 500) and accelerated after. The letter V can add zest and drama to words it inhabits. Its compelling shape and zippy sound imply purpose, immersion, advancement.

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Waltograph

Regular

Waltograph is the name of a popular freeware typeface based on the lettering of the Walt Disney logotype. Several versions exist, some under its original title of “Walt Disney Script.” The typeface is not, as many assume, based on the actual handwriting of Walt Disney; rather, it is an extrapolation of the Walt Disney Company’s corporate logotype, which was based on a stylized version of Walt Disney’s autograph. First released in 2000, Walt Disney Script was continuously updated and eventually renamed Waltograph in 2004. Although the project is unofficial and not affiliated with nor endorsed by the Walt Disney Company, it has been used by the company on occasions. One writer remarked that “When Mickey Mouse sits down to tap out his memoirs, we bet the title page will be set in Waltograph.” Like the informal font Comic Sans, Waltograph gets rave reviews from many, but not all audiences.

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Waltograph

A B CD EF G H I J K L M N O P Q R ST U V W XYZ abcdefghijklmnopq rstuvwxyz 1234567890?!&< >;:/-_@ Knowledge from letter “W” Widest of all our letters in standard typefaces, the letter W is more than just an M turned upside down. While the letter M maystand securely on two vertical legs, W’s arms typically angle outward, commemorating W’s early days as two linked V forms. The W was invented during the first millennium A.D. to answer a specific need of language. It exemplifies how letters can be created to accommodate speech. With no subtle tongue positioning, “w” is one of the easier letter sounds for English speakers to say. Babies can say it(“wawa”), and many children and some adults may substitute it for the more complex “r” sound, as in “Wudolph the wed-nosed weindeeh.”

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Agency FB

Regular Italic Bold Bold Italic

Font Bureau Agency is a proportional sans-serif typeface created in 1989 and a large family of proportional fonts.It was designed by David Berlow of Font Bureau and Morris Fuller Benton. Agency is the main font in the 2011 first-person shooter video game â&#x20AC;&#x153;Crysis 2â&#x20AC;? and the 2012 first-person shooter video game Call of Duty: Black Ops 2 and used in the logo for the in-development science fiction first-person shooter video game trilogy Interstellar Marines. It is also the font used, in modified form, by the Vancouver, BC, National Hockey League franchise, the Vancouver Canucks.

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Agency FB

ABCDEFGHIJKLMNOPQ RSTUVWXYZ abcdefghijklmnopqrs tuvwxyz 1234567890?!&<>;:/ -_@ Knowledge from letter “X” “If 3X = X + 3 , what is X?” This use of X was introduced in 1637 by none less than French philosopher, mathematician, scientist Rene Descarters in his treatise La Geometric. Descartes assigned letters S, Y and Z to symbolize any three unknown in a geometric equation, but he favored S. The association stuck: Down later centuries of math and science, X came to be used almost as a question mark. True, the letter has mellowed in the last 12 years or so. But in olden days- before there was X-Files, X Games, or the Xboxthe X was an outsider, slightly sinister, sparingly used. Some of X’s mystery comes from its low rate of use: In printed English it ranks second or third to last, above Z and (in some surveys) Q or J. As an initial letter, X ranks dead last: It’s the one that appears least at the start of English words.

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Candara

Regular Italic Bold Bold Italic

Candara is a humanist sans-serif typeface, which is bundled with Windows Vista and Windows 7. Candaraâ&#x20AC;&#x2122;s verticals show both entasis and ekstasis[clarification needed] on opposite sides of stems, high-branching arcades in the lowercase, large apertures in all open forms, and unique ogee curves on diagonals. The family supports most of the WGL4 character set. OpenType features include automatic ligature sets, numerals (tabular, proportional, oldstyle and lining), numerator, denominator, scientific inferior subscripts, and small caps. Candara is featured in the Microsoft ClearType Font Collection, a set of fonts developed to take advantage of ClearType to improve the reading experience in Windows Vista and Office 2007. This font, along with Calibri, Cambria, Consolas, Corbel and Constantia, is also distributed with the free PowerPoint Viewer, the Microsoft Office Compatibility Pack and the Open XML File Format Converter for Mac.

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Candara

ABCDEFGHIJKLM NOPQRSTUVWXY Z abcdefghijklmno pqrstuvwxyz 1234567890?!&< >;:/-_@ Knowledge from letter “Y” Even English at one time had no consonat Y. For the first 600 years of English writing, from the 600s A.D. onward, the sound “y” was shown with a symbol called a yogh, one of four Old English letters not from the Roman alphabet. Only after 1200 did letter Y start to take over in representing th sound “y”. Like all French spelling rules of the day, the Y consonant was forcibly imported to England with the Norman Conquest of A.D. 1066. Here Y found fertile soil. For whereas the consonantal sound “y” was a minor part of spoken French it occurres far more frequently in the northern European tongue of Old English. The Y had suddenly gotten a big promotion. Y is the only letter commonly used as both vowel and consonant in English. They look identical but have distinct personalities, and the vowel is the elder by more than 2,000 years.

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Century Gothic

Regular Italic Bold Bold Italic

Century Gothic is a geometric sans-serif typeface designed for Monotype Imaging in 1991. It is a digital typeface that has never been made into actual foundry type. Century Gothic takes inspiration from Sol Hessâ&#x20AC;&#x2122;s Twentieth Century, which was drawn between 1937 and 1947 for the Lanston Monotype Company as a version of the successful Futura typeface, but with a larger x-height and more even stroke width. The Century Gothic face is distinct for its single-storey lowercase a and g. Century Gothic is more closely related to Avant Garde Gothic, designed by Herb Lubalin, and released by the International Typeface Corporation (ITC) in 1970. Century Gothic is similar to ITC Avant Garde in its pure geometry, and does not possess the subtle variation in stroke width found in either Futura or Twentieth Century. However, it differs from ITC Avant Garde in that Century Gothic does not have a descender on lowercase u (making it appear like a Greek upsilon Ď&#x2026;), whereas Avant Garde does. Century Gothic also has larger, rounder tittles on the letters i and j, whereas Avant Garde keeps the tittles square and the same width as the letter strokes.

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Century Gothic

ABCDEFGHIJK LMNOPQRSTUV WXYZ abcdefghijklm nopqrstuvwxyz 1234567890?! &<>;:/-_@ Knowledge from letter “Z” Z never had such popularity problems as a youngster. Back in 1000 B.C., the seventh letter of the Phoenician alphabet was zayin, which took a “z” sound, as demonstrated in the opening sound of its name. Copied into the Greek alphabet around 800 B.C., the letter was renamed zeta- evidently in confused reference to a different Phoenician sibilane letter, called tsade. The zeta- the name meant nothing in Greek aside from the letter- began its life as an I shape but morphed gradually to the familiar Z shape. The last letter of our Roman alphabet is Z, a consonant that can seem racy and elusive or just plain disadvantaged. The potential indignity of being the alphabet’s caboose is compounded by one real weakness: Z is on average, the leastused letter in printed English.

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POINT SIZE

In typography, a point is the smallest whole unit of measure, being a subdivision of the larger pica. It is commonly abbreviated as pt. The point has long been the usual unit for measuring font size and leading and other minute items on a printed page. The original printer›s point, from the era of foundry metal typesetting and letterpress printing, varied between 0.18 and 0.4 mm. The defined length of a point varied over time and location until the late 1980s and early 1990s, when the traditional point was supplanted by the desktop publishing point (also called the PostScript point), which was defined as 1⁄72 of an inch. In either system, there are 12 points to pica. In metal type, the point size of the font described the size (height) of the metal body on which the typeface›s characters were cast. In digital type, letters of a font are designed around an imaginary space called an «em square». When a point size of a font is specified, the font is scaled so that its em square has a side length of that particular length in points. Although the letters of a font usually fit within the font›s em square, there is not necessarily any size relationship between the two, so the point size does not necessarily correspond to any measurement of the size of the letters on the printed page.

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Point Size In typography, a measure of the height of the characters of a font, measured in points. The point is the basic unit of measurement used in typography, and all other measurements derive from it. Historically, each individual size was referred to using a name not a number (such as Diamond, Brevier, Pica, Great Primer, etc.; only one of these names— agate—is still used; see Agate), but this became inadequate for quantitatively specifying type sizes above and below it. In the late nineteenth century, the point system—devised a century earlier by Pierre Fournier—was adopted by the printing industry.

Pt. 8

Pt. 10

Pt. 12

Pt. 14

Pt. 16

Pt. 18

Pt. 24

Pt. 36

Pt. 48

Hxqk

Hxqk - 67

Hxqk

Pt. 100

Pt. 90

Pt. 80

Pt. 72

Pt. 60

Point 8 - 48 (Uppercase) THE QUICK BROWN FOX JUMPS OVER THE LAZY DOG.

THE QUICK BROWN FOX JUMPS OVER THE LAZY DOG.

THE QUICK BROWN FOX JUMPS OVER THE LAZY DOG. - 68

Point 8 - 48 (Lowercase) the quick brown fox jumps over the lazy dog.

the quick brown fox jumps over the lazy dog.

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Point 60

THE QUICK BROWN FOX JUMPS OVER THE LAZY DOG. the quick brown fox jumps over the lazy dog. - 70

THE QUICK BROWN FOX JUMPS OVER THE LAZY DOG. the quick brown fox jumps over the lazy dog. Point 72

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LETTER SPACING

KERNING IS not TRACKING

In typography, letter-spacing, usually called tracking by typographers, refers to a consistent degree of increase (or sometimes decrease) of space between letters to affect density in a line or block of text. Letter-spacing can be confused with kerning. Letter-spacing refers to the overall spacing of a word or block of text affecting its overall density and texture. Kerning is a term applied specifically to the spacing adjustment of two particular characters to correct for visually uneven spacing. In its original meaning with metal type, a kern meant having a letter stick out beyond the metal slug it was attached to, or cutting off part of the body of the slug to allow (other similarly-trimmed) letters to overlap. So a kern in that sense could only bring letters closer together (negative spacing), though of course it was possible to add space between letters. Digital kerning can go in either direction. Tracking can similarly go in either direction, though with metal type one could only adjust groups of letters further apart (positive spacing). Letter-spacing adjustments are frequently used in news design. The speed with which pages must be built on deadline does not usually leave time to rewrite paragraphs that end in split words or that create orphans or widows. Letter-spacing is increased or decreased by modest (usually unnoticeable) amounts to fix theseunattractive situations.

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Letter Spacing Involves the amount of space between individual letters consistent letterspacing is the key to the professional handling of type. A through understanding of figure/ ground is essential. Type shapes have distinct qualities. They fit together in many, many combinations. Four kind of stroke make up letterforms. These must be spaced in a logical, consistent manner to appear OPTICALLY correct. The idea is to maintain comfortable optical volumes (figure/ ground) between letterforms. Each letter should â&#x20AC;&#x2DC;flirtâ&#x20AC;&#x2122; with the one next to it.

I Z V S hiktony

Strokes

Vertical

Horizontal Inclined Cursive

Optical Volumes

Try to make these volumes look equal. Think of pouring roughly equal volumes of sand or salt between letters.

Letterspacing Scale

To letter space well you need visual benchmarks. show here are the extreme spacing limits. Build your own Letterspacing system and achieve consistency. Farthest Apart

In Between

Closest Together

Vertical - Vertical small volume maximize space

Cursive - Cursive medium volume adjust space

Inclined - Inclined large volume minimize space

g||f

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g||f

Base

Cursive letters are designed slight taller than straight stroke letters so they will look exactly the same height. Cursive letters must be placed slightly below the baseline so they will appear to the line.

Straight strokes on baseline

_....___Baseline Cursive strokes dip below baseline

Hanging

Curved letters, inclined letters and some horizontal letter stroke situate beyond the The vertical or left hand margins. This is so that they will appear to be on the margins. Punctuation can also hang. Designers must be concerned with hanging when adjusting headline type.

Vertical stroke of n is on margin

Crossbar of t hangs

Kerning

Left cursive edge of e hangs

noe ten ets

Involves selectively reducing the space between characters while leaving the rest of the setting the same. Because of their letter shapes, certain combinations such as Yo, Te, Av require extreme space adjustments. Kerning affect additional typographic sophistication.

To ye av To ye av

Normal Letterspace

Kerned Notice how kerning letters snuggle to reduce excessive space volumes. - 76

Kerning and Tracking To W. Av UNKERNED

To W. Av TABLE-BASED

To W. Av KERNED

What is Kerning? Kerning is targeted. It adjusted the spaces between specific letter pairs to adjust anomalies in spacing created by the shapes of the two letters, which can make the characters look too far apart or too close together. How is it different from Tracking? Tracking is generalized. Uniformly affects the spacing between all the charcters in a range of text. Tracking is normally adjusted to compensate for spacing problems caused by changes in point size. It is also used to adjust badly spaced passages of text. Far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts. Separated they live in Bookmarks grove right at the coast of the Semantics, a large language ocean. A small river named Duden flows by their place and supplies it with the necessary

Far far away, behind the word mountains, far from the countries. Vekalia and Consonantia, there live the blind texts. Separated they live in Bookmarks grove right at the coast of the Semantics, a large language ocean. A small river named Duden flows by their place and supplies it with the necessary.

Loose Tracking

Tight Tracking

Awful Voices Unkerned

What are Kerning Pairs? Kern pairs contain information about the spacing of specific â&#x20AC;&#x2DC;pairsâ&#x20AC;&#x2122; of letters.

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Awful Voices Table-faced

Awful Voices Kerned

LA, P., To, Tr, Ta, Tu, Te, Ty, Wa, WA, We, Wo, Ya, Yo, AV, KO, f. LA, P., To, Tr, Ta, Tu, Te, Ty, Wa, WA, We, Wo, Ya, Yo, AV, KO, f.

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LETTER ANATOMY

The strokes of a letter are the lines that make it up. Strokes may be straight, as in k l v w x z, or curved, as in c o s. If straight, they may be horizontal, vertical, or diagonal; if curved, open or closed. Typographers also speak of an instroke, where one starts writing the letter, as at the top of a c f, and an outstroke, where the pen leaves off, as at the bottom of c e j k t. A main vertical stroke is called a stem. The letter m has three, the left, middle, and right stems. The central stroke of an s is called the spine. A stroke, usually a stem, which rises above the height of an x (called the x height) is called an ascender; letters with ascenders are b d f h k l. A stroke which drops below the baseline is a descender. Letters with descenders are g j p q y. An arching stroke is called a shoulder or sometimes just an arch, as in h n m. A closed curved stroke is called a bowl in b d o p q D O P Q R; B has two bowls. A trailing outstroke, as in j k y J K Q R is called a tail. A short horizontal stroke, as in the center of e f t A and the middle stroke of E F, is called a bar. A longer horizontal stroke at the top or bottom, as in E F L T, is called an arm. The bottom of the two-story g is called a loop; the very short stroke at the top is called the ear. i j each have a dot or tittle. Angles of strokes are called apices if at the top and vertices if at the bottom. w has one apex and two vertices; v has one vertex.

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Weight’s Understanding the fundamental principles and concept of typography is the first step to being a successful typography. The most component of typography is the letter and each letter of the alphabet is distinguished by its unique shape or letterform. This technique guide includes definition for and illustrations of the individual part that compose letterform, as well as the boundaries by which letterform are delineated There is a standard set of terms to describe the parts of a character. These terms, and the parts of the letter they represent, are often referred to as “letter anatomy” or “typeface anatomy.” By breaking down letters into parts, a designer can better understand how type is created and altered and how to use it effectively.

Typeface anatomy describes the graphic elements that make up printed letters in a typeface.The strokes of a letter are the lines that make it up. Strokes may be straight, as in k l v w x z, or curved, as in c o s. If straight, they may be horizontal, vertical, or diagonal; if curved, open or closed. A main vertical stroke is called a stem. The letter m has three, the left, middle, and right stems. The central stroke of an s is called the spine. A stroke, usually a stem, which rises above the height of an x (called the x height) is called an ascender; letters with ascenders are b d f h k l. A stroke which drops below the baseline is a descender.

Letters with descenders are g j p q y. An arching stroke is called a shoulder or sometimes just an arch, as in h n m. A closed curved stroke is called a bowl in b d o p q D O P Q R; B has two bowls. A trailing outstroke, as in j k y J K Q R is called a tail. A short horizontal stroke, as in the center of e f t A and the middle stroke of E F, is called a bar. A longer horizontal stroke at the top or bottom, as in E F L T, is called an arm. The bottom of the two-story g is called a loop; the very short stroke at the top is called the ear. i j each have a dot or tittle. Angles of strokes are called apices if at the top and vertices if at the bottom. w has one apex and two vertices; v has one vertex. - 81

Loop

Link

g Ear

Crossbar

Terminal

Shoulder

Spur Counter

Beak Arm Bowl

Tail

Descender

Ascender

Letter Anatomy

foot Serif

X-height

hair line

Apex

TYPOGRAPHY WEIGHT

The weight of a particular font is the thickness of the character outlines relative to their height. Relative darkness of the characters of a type font resulting from the relative thickness of the strokes, expressed as light, bold, extrabold, etc. Some typeface families have several weights, including ultra-bold and extralight. Refers to the heaviness of the stroke for a specific font, such as Light, Regular, Book, Demi, Heavy, Black, and Extra Bold. A typeface may come in fonts of many weights, from ultra-light to extra-bold or black; four to six weights are not unusual, and a few typefaces have as many as a dozen. Many typefaces for office, Web and non-professional use come with just a normal and a bold weight. If no bold weight is provided, many renderers (browsers, word processors, graphic and DTP programs) support faking a bolder font by rendering the outline a second time at an offset, or just smearing it slightly at a diagonal angle. The base weight differs among typefaces; that means one normal font may appear bolder than some other normal font. For example, fonts intended to be used in posters are often quite bold by default while fonts for long runs of text are rather light. Therefore weight designations in font names may differ in regard to the actual absolute stroke weight or density of glyphs in the font.

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Weightâ&#x20AC;&#x2122;s The weight of a particular font is the thickness of the character outlines relative to their height. Relative darkness of the characters of a type font resulting from the relative thickness of the strokes, expressed as light, bold, extrabold, etc. Some typeface families have several weights, including ultra-bold and extra-light. Refers to the heaviness of the stroke for a specific font, such as Light, Regular, Book, Demi, Heavy, Black, and ExtraBold. A typeface may come in fonts of many weights, from ultra-light to extra-bold or black; four to six weights are not unusual, and a few typefaces have as many as a dozen. Many typefaces for office, Web and non-professional use come with just a normal and

a bold weight. If no bold weight is provided, many renderers (browsers, word processors, graphic and DTP programs) support faking a bolder font by rendering the outline a second time at an offset, or just smearing it slightly at a diagonal angle. The base weight differs among typefaces; that means one normal font may appear bolder than some other normal font. For example, fonts intended to be used in posters are often quite bold by de fault while fonts for long runs of text are rather light. Therefore weight designations in font names may differ in regard to the actual absolute stroke weight or density of glyphs in the font.

Century Gothic Regular Century Gothic Italic Century Gothic Bold Century Gothic Bold Italic The TrueType font format introduced a scale from 100 through 900, where 400 is regular (roman or plain), which is also used in CSS and OpenType. The first algorithmic description of fonts was perhaps made by Donald Knuth in his Metafont and TeX system of programs. The terms normal, regular and plain, sometimes also book, are being used for the standard weight font of a typeface. Where both appear and differ, book is often lighter than regular, but in some typefaces it is bolder.

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CONDENSED AND EXPAND

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Condensed Condensed fonts are narrower versions of the standard typefaces in a specific type family. Some fonts that are not part of a larger family may be described as condensed if they are much taller than they are wide. Often the font will have condensed as part of its name. One use of condensed fonts is to save space. The narrower width allows for more characters to be packed into a line, a paragraph, a column, and a page. However, these narrow, compressed fonts can hinder readability because the letters are thinner and more closely spaced. The use of compressed fonts may work best in small doses such as for subheadings, captions, or pull-quotes, especially when paired with standard fonts of the same type family. They can also work for decorative headlines and text graphics, especially when individual characters are intentionally spaced out so that you get the tall, thin letters but without the cramped letterspacing.

100 % Condensed

Condensed

80 % Condensed

Condensed

60 % Condensed

Condensed

40 % Condensed

Condensed

20 % Condensed

Condensed

0 % Condensed

Condensed

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Expand Expand is a narrow version of a font that is used to get more character into a given sapce .But the greater benefits of an expanded font family come into play when setting complicated documents, such as magazines that need various styles to distinguish photo credits, captions, pull quotes, footnotes, etc. without detracting from the body text, headlines, and subheads, etc. Each of those could be of a different size, weight, width, and even a different variant specialized for very small or large display. Maps have need of many varied type styles to distinguish different feature types too. Examine a copy of National Geographic, where you can see examples in both of these situations. Some of the grotesque and neo-grotesque fonts out there are really wider than they need to be when used as copy, so a condensed weight can save paper and look better. For example, its common for designers to use Univers Condensed for copy and save the regular width for headlines.

100 % Expanded

E x pan de d

80 % Expanded

Expanded

60 % Expanded

Expanded

40 % Expanded

Expanded

20 % Expanded

Expanded

0 % Expanded

Expanded

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POSTURE

The use of type can make or break a design. So having a strong understanding of the basic principles of typography enables you to create attractive and original type compositions. Italic type is a cursive typeface based on a stylized form of calligraphic handwriting. Owing to the influence from calligraphy, such typefaces often slant slightly to the right. Different glyph shapes from roman type are also usually usedâ&#x20AC;&#x201D;another influence from calligraphy. True italics are therefore distinct from oblique type, in which the font is merely distorted into a slanted orientation. However, uppercase letters are often oblique type or swash capitals rather than true italics. This style is called ÂŤitalicÂť for historical reasons. Calligraphic typefaces started to be designed in Italy, for chancery purposes.Ludovico Arrighi and Aldus Manutius (both between the 15th and 16th centuries) were the main type designers involved in this process at the time. Sometimes we need more than just Italics for slating tittles/words in design. Such slating can be manually done and is very easy to do.

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Posture Posture is the angle at which a given typeface is set. Italic posture serves to emphasize text. Oblique posture is much like italic but is more rigid and is typically found in sans serif faces. It was created after the advent of electronic forms of typesetting became available. While roman typefaces are upright, italic typefaces slant to the right. But rather than being just a slanted or tilted version of the roman face, a true or pure italic font is drawn from scratch and has unique features not found in the roman face.Most word processing and desktop publishing programs have an option to turn a roman font into italic. If a matching italic version is installed, this may work fine. However, if an italic version is not available, some programs will create fake italics by simply slanting the roman typeface.

Venetian printer Aldus Manutius and his type designer, Francesco Griffo are credited with creating the first italic typeface â&#x20AC;&#x201D; the term italic paying homage to Italy where the style originated. In typography, italic type is a cursive typeface based on a stylized form of calligraphic handwriting. Owing to the influence from calligraphy, such typefaces often slant slightly to the right. Different glyph shapes from roman type are also usually usedâ&#x20AC;&#x201D;another influence from calligraphy. It is distinct therefore from oblique type, in which the font is merely distorted into a slanted orientation. However, uppercase letters are often oblique type or swash capitals rather than true italics.

Posture

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Posture

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COUNTER FORM (fulltoo enjoyment)

Counterform is the blank spaces between individual letters and as designers this can be used to great effect, also referred to as ‘negative space’. By definition, a word has the potential to express an idea, object, or event. Word signs are independent of the things they represent, yet by design they can be made to signify and reveal their meaning. Such as below. the word ‘Joy’ which is made up of three characters that don’t have any relation to the meaning of the word itself, however in this example they are transformed through using the letters shape and form into a clever way to express the meaning of the word. Form and counterform relationships, found within individual letters and characters, also exist within individual words. Speaking on the structural consideration of form and counterform and the designing of typefaces, Adrian Frutiger stated: “The material of typography is the black, and it is the designer’s task with the help of this black to capture space, to create harmonious whites inside the letters as well as between them.”

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Uses of alphabet “D”

Uses of alphabet “O”

Uses of alphabet “U” & “B”

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Uses of alphabet “O” & “r”

Uses of alphabet “V” & “N”

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Uses of alphabet “K”

Uses of alphabet “g”

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g g

Uses of alphabet “g”

Uses of alphabet “A”

Uses of alphabet “H”

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FORMS (zara sa hatt ke)

A letterform, letter-form or letter form, is a term used especially in typography, paleography, calligraphy and epigraphy to mean a letter›s shape. «Letterform» is a synonym for glyph, which is a specific, concrete way of writing an abstract character or grapheme. In one sense, letterform applies strictly to the design of individual letters. In typography, «letterforms» is often used to describe the study and design of individual letters while typography applies to the design and use with letterforms. As such, «letterform» applies not only to letters but to any graphic elements of a script, typeface or font (including numbers, symbols and punctuation). Playing with letterforms develop a sense to look at same letters from different letters.

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Uses of alphabet “i”

Uses of alphabet “V”

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Uses of alphabet “i”

Uses of alphabet “V”

V V VV Uses of alphabet “T”

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EE E

Uses of alphabet “E”

LAS Uses of alphabet “L”,“A” & “S”

Uses of alphabet “I” & “B”

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Uses of alphabet “S”

Uses of alphabet “V”

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TYPOGRAPHIC ELEMENTS Alignments Leading Paragraph Spacing

In typesetting and page layout, alignment or range, is the setting of text flow or image placement relative to a page, column (measure), table cell or tab. The type alignment setting is sometimes referred to as text alignment, text justification or type justification. There are four basic typographic alignments: Flush left—the text is aligned along the left margin or gutter, also known as leftaligned or ragged right; Flush right—the text is aligned along the right margin or gutter, also known as rightaligned or ragged left; Justified—text is aligned along the left margin, and letter- and word-spacing is adjusted so that the text falls flush with both margins, also known as fully justified or full justification; Centered—text is aligned to neither the left nor right margin; there is an even gap on each side of each line. Note that alignment does not change the direction in which text is read; however text direction may determine the most commonly used alignment for that script.

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Alignments When type is set in text form and headline form, it can take several shapes. These alternative are important tools for the designer . Selecting a composition alternative, you should be careful to respect the reading pattern of the target audience. Each letter , word and line in the composition should be readable. There are some alignments given bellow. Left Aligned

Centre Aligned

Typography traces its origins to the first punches and dies used to make seals and currency in ancient times. The typographical principle, the creation of a complete text by reusing identical characters, was first realized in the Phalistos Disc, an enigmatic Minoan print item from Crete, Greece, which dates between 1850 and 1600 B.C.

Justified by last line left Aligned

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Right Aligned

Justified by last line right Aligned

Leading In typography, leading refers to the distance between the baselines of successive lines of type. The term originated in the days of hand-typesetting, when thin strips of lead were inserted into the forms to increase the vertical distance between lines of type. The term is still used in modern page layout software such as QuarkXPress and Adobe InDesign. In consumer-oriented word processing software, this concept is usually referred to as “line spacing” or “interline spacing.” The term leading is derived from the days of hot metal type when strips of lead were placed between lines of type to provide line spacing. Leading is the space between lines of type. It is generally measured from baseline to baseline and expressed in points.

Some software may use the term line spacing while others still refer to this spacing as leading. Word processing software often has the option to use single, double, or even triple spacing or to specify specific leading in points or other measurements. Programs that offer automated leading calculate what it believes to be the correct leading based on the text size. When a line of type includes more than one type size, this automatic leading can result in odd or inconsistent line spacing. The word comes from lead strips that were put between set lines of lead type, hence the pronunciation “ledding” and not “leeding”. When type was set by hand in printing presses, slugs or strips of lead of appropriate thicknesses were inserted between the lines of type to add vertical space, improving legibility. Text set “solid” (no leading) appears cramped, with ascenders almost touching descenders from the previous line. The lack of white space between lines makes it difficult for the eye to track from one line to the next, makes rivers more obvious, and hampers readability. The leading may be increased to align the bottom line of text on a page in a process known as feathering, carding, or vertical justification

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Examples This block of text has default leading: Typography (Greek: typos "form", graphein "to write") is the art and technique of setting written subject matter in type using a combination of typeface styles, point sizes, line lengths, line leading, character spacing, and word spacing to produce typeset artwork in physical or digital form.

The same block of text set with 50% leading is easier to read: Typography (Greek: typos "form", graphein "to write") is the art and technique of setting written subject matter in type using a combination of typeface styles, point sizes, line lengths, line leading, character spacing, and word spacing to produce typeset artwork in physical or digital form. The same block of text at 100% leading is again harder to read and makes less efficient use of vertical page space: Typography (Greek: typos "form", graphein "to write") is the art and technique of setting written subject matter in type using a combination of typeface styles, point sizes, line lengths, line leading, character spacing, and word spacing to produce typeset artwork in physical or digital form.

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Paragraph Spacing A paragraph (from the Greek paragraphos, “to write beside” or “written beside”) is a self-contained unit of a discourse in writing dealing with a particular point or idea. A paragraph has 5 types (Br. Anton Heitman). A paragraph consists of one or more sentences. Though not required by the syntax of any language, paragraphs are usually an expected part of formal writing, used to organize longer prose. Paragraph Spacing: * Allows you to adjust the distance between paragraphs. * At the start of every new paragraph the text drawing position is shifted vertically by the distance specified in this property. If the value is positive this will space the paragraphs out. If the value is negative it will shift the paragraphs together. Typographical considerations: Widows and orphans occur when the first line of a paragraph is the last line in a column or page, or when the last line of a paragraph is the first line of a new column or page. Professionally printed material in English typically does not indent the first paragraph, but indents those that follow. For example, Robert Bringhurst states that we should “Set opening paragraphs flush left.” Bringhurst explains as follows. “The function of a paragraph is to mark a pause, setting the paragraph apart from what precedes it. If a paragraph is preceded by a title or subhead, the indent is superfluous and can therefore be omitted.” The Elements of Typographic Style states that “at least one en [space]” should be used to indent paragraphs after the first, noting that that is the “practical minimum”. An em space is the most commonly used paragraph indent. Miles Tinker, in his book Legibility of Print, concluded that indenting the first line of paragraphs increases readability by 7%, on the average. In Computing: In word processing and desktop publishing, a hard return or paragraph break indicates a new paragraph, to be distinguished from the soft return at the end of a line internal to a paragraph. This distinction allows word wrap to automatically reflow text as it is edited, without losing paragraph breaks. The software may apply vertical whitespace or indenting at paragraph breaks, depending on the selected style. Section Breaks: Many published books use a device to separate certain paragraphs further when there is a change of scene or time. This extra space, especially when co-occurring at a page or section break, may contain an asterisk, three asterisks, a special stylistic dingbat, or a special symbol known as an asterism. - 112

Purpose and style advice: A common English usage misconception is that a paragraph has three to five sentences; single-word paragraphs can be seen in some professional writing, and journalists often use single-sentence paragraphs.[7] The crafting of clear, coherent paragraphs is the subject of considerable stylistic debate. Forms generally vary among types of writing. For example, newspapers, scientific journals, and fictional essays have somewhat different conventions for the placement of paragraph breaks. English students are sometimes taught that a paragraph should have a topic sentence or “main idea”, preferably first, and multiple “supporting” or “detail” sentences which explain or supply evidence. One technique of this type, intended for essay writing, is known as the Schaffer paragraph. For example, the following excerpt from Dr. Samuel Johnson’s Lives of the English Poets, the first sentence is the main idea: that Joseph Addison is a skilled “describer of life and manners”. The succeeding sentences are details that support and explain the main idea in a specific way. As a describer of life and manners, he must be allowed to stand perhaps the first of the first rank. His humour, which, as Steele observes, is peculiar to himself, is so happily diffused as to give the grace of novelty to domestic scenes and daily occurrences. He never “o’ersteps the modesty of nature,” nor raises merriment or wonder by the violation of truth. His figures neither divert by distortion nor amaze by aggravation. He copies life with so much fidelity that he can be hardly said to invent; yet his exhibitions have an air so much original, that it is difficult to suppose them not merely the product of imagination. This advice differs from stock advice for the construction of paragraphs in Japanese (translated as danraku).

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POSTER TYPOGRAPHIC STUDY (Studying of two title fonts of movie/ product/ advertisement)

Display typography is a potent element in graphic design, where there is less concern for readability and more potential for using type in an artistic manner. Type is combined with negative space, graphic elements and pictures, forming relationships and dialog between words and images. Color and size of type elements are much more prevalent than in text typography. Most display typography exploits type at larger sizes, where the details of letter design are magnified. Color is used for its emotional effect in conveying the tone and nature of subject matter. What fonts are used in posters? We constantly notice exceptional, humorous, and romantic typefaces on posters or announcements and wonder which fonts were used in them. For movie posters, quite often, the film companies themselves produce these letterforms, and use them solely for their own distribution purposes.

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Canon - 117

Canon

ABCDEFGHIJKL MNOPQRSTUVWX YZ abcdefghijklmn opqrstuvwxyz 1234567890?!;:/_@ Knowledge from “Canon Inc.” The company was originally named Seikikōgaku kenkyūsho, Precision Optical Industry Co. Ltd.). In 1934 it produced the Kwanon, a prototype for Japan’s first-ever 35 mm camera with a focal plane based shutter. In 1947 the company name was changed to Canon Camera Co., Inc., shortened to Canon Inc. in 1969. The name Canon comes from Buddhism, of Buddhist bodhisattva Guan Yin, in Japanese, despite that spelling is closer to canon (law).

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the

twilight

saga

new moon

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The Twilight Saga (new moon)

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z 1 2 3 4 5 6 7 8 9 0 ? ! ; : / - _ @ Knowledge from “The Twilight Saga (new moon)” The Twilight Saga: New Moon, commonly referred to as New Moon, is a 2009 American romantic fantasy film based on Stephenie Meyer’s 2006 novel New Moon. It is the second film in The Twilight Saga film series and is the sequel to 2008’s Twilight. Summit Entertainment greenlit the sequel in late November 2008, following the early success of Twilight. Directed by Chris Weitz, the film stars Kristen Stewart, Robert Pattinson, and Taylor Lautner,[3] reprising their roles as Bella Swan, Edward Cullen, and Jacob Black, respectively. Melissa Rosenberg, who handed in a draft of the film script during the opening weekend of Twilight, returned as screenwriter for New Moon as well. New Moon was released on DVD and Blu-ray Disc on March 20, 2010 through midnight release parties. As of July 2012, $184,916,451 in North American DVD sales, selling more than 8,835,501 units, 4 million of which were sold within its first weekend, beating Twilight’s 3.8 million units sold in its first two days. The film was well received by fans, but critical reception was not favorable. - 120

LOGO DESIGN

A Logo is a graphic mark or emblem commonly used by commercial enterprises, organizations and even individuals to aid and promote instant public recognition. Logos are either purely graphic (symbols/icons) or are composed of the name of the organization (a logotype or wordmark). In the days of hot metal typesetting, a logotype was a uniquely set and arranged typeface or colophon. At the level of mass communication and in common usage a company›s logo is today often synonymous with its trademark or brand. Typography plays a crucial role in the design of your brand identity. Defined as “the art or process of setting and arranging types” – the typography in your logo can be as impactful as a graphic.Great examples of brands that use typography- based logos (logotypes) are FedEx, Google and Coca-Cola. And even if you do have a graphic (logomark) in your logo design, the typography used with it says a lot about your brand. Choosing the right typography in designing a logo is critical to the success of a brand identity or client project. Also the choice of typeface is very important because the basic letterform establishes the overall character of the logo.

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VECTOR ASSOCIATIONS

CLASSIC WRIST

S SEVENOAK S SCHOOL

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LBS - 124

Landmark Business School

aw studio A Place For Musicians

WC Wadia Constructions Pvt. Ltd.

WOLF DESIGN STUDIO

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S t p u

OUNG INDIA ASSOCIATION

fly ways

Lines Wireframes Studio

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PAPER SIZE STUDY

Many paper size standards conventions have existed at different times and in different countries. Today there is one widespread international ISO standard (including A4, B3, C4, etc.) and a local standard used in North America (including letter, legal, ledger, etc.). The paper sizes affect writing paper, stationery, cards, and some printed documents. The standards also have related sizes for envelopes. The international paper size standard,ISO 216, is based on the German DIN 476 standard for paper sizes. ISO paper sizesare all based on a single aspect ratio of square root of 2, or approximately 1:1.4142.The base A0 size of paper is defined to havean area of 1 m2. Rounded to millimetres,the A0 paper size is 841 by 1,189 millimetres(33.1 in Ă&#x2014; 46.8 in). Successive paper sizes in the series A1, A2,A3, and so forth, are defined by halving the preceding paper size across the larger dimension. The most frequently used papersize is A4 measuring 210 by 297 millimetres (8.3 in Ă&#x2014; 11.7 in).

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A2 A3

A0 A1

Paper Size Analysis U.S. Name

U.S. Size

Metric Equivalent

A (letter) Legal B (ledger) Super B/Super A3 C D E

8.5 x 11 in ches 8.5 x 14 in ches 11 x 17 in ches 13 x 19 in ches 17 x 22 in ches 22 x 34 in ches 34 x 44 in ches

216 x 279 m m 216 x 356 m m 279 x 432 m m 330 x 483 m m 432 x 559 m m 559 x 864 m m 864 x 1118 m m

Metric Name

Metric Size

U.S. Equivalent

A5 A4 A3 A3+ A2 A1 A0

148 x 210 m m 210 x 297 m m 297 x 420 m m 329 x 483 m m 420 x 594 m m 594 x 841 m m 841 x 1189 m m

5.8 x 8.3 in ches 8.3 x 11.7 in ches 11.7 x 16.5 in ches 13 x 19 in ches 16.5 x 23.4 in ches 23.4 x 33.1 in ches 33.1 x 46.8 in ches

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DIGITAL TYPOGRAPHIC EFFECTS (Software or Digital Effects)

Clever graphic designers love to use typography to explore the interaction between the look of type and what type actually says. In communicating a message, a balance has to be achieved between the visual and the verbal aspects of a design. Sometimes, however, designers explore the visual aspect of type to a much greater extent than the verbal. In these cases, the visual language does all the talking. This article explores when the visual elements of typography speak louder than words. To avoid any misunderstanding, let’s clarify what the terms “visual language” and “verbal language” mean. In professional graphic design, visual language refers to the meanings created by the visual appearance of both text and image. In this article, the term “visual language” refers to the character and significance created by carefully selected typography. Verbal language is the literal meaning of words, phrases and sentences.

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File Source : http://www.youtube.com/watch?v=d6ROMeK2-w8

File Source : http://www.youtube.com/watch?v=nN8Vf6c3tko

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File Source : http://www.youtube.com/watch?v=sjYnPtQaxe0

File Source : http://www.youtube.com/watch?v=_CJGYPYrEvM - 134

File Source : http://www.youtube.com/watch?v=Ukafw-5ULWM

File Source : http://www.youtube.com/watch?v=-Yt4MrRQgEU

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File Source : http://www.youtube.com/watch?v=de8I-CqTIGI

File Source : http://www.youtube.com/watch?v=eXJs6vE9XNs

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File Source : http://www.youtube.com/watch?v=88NE3NgAI64

File Source : http://www.youtube.com/watch?v=Gg27gmGy2Z4

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TYPOGRAPHIC POSTER

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STUDY OF TWO FONT DESIGNERS

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Paul Renner

Paul Renner was a typeface designer. In 1927, he designed the Futura typeface, which became one of the most successful and most-used types of the 20th century. He was born in Wernigerode, Germany and died in Hödingen. He had a strict Protestant upbringing, being educated in a 19th-century Gymnasium. He was brought up to have a very German sense of leadership, of duty and responsibility. He was suspicious of abstract art and disliked many forms of modern culture, such as jazz, cinema, and dancing. But equally, he admired the functionalist strain in modernism. Thus, Renner can be seen as a bridge between the traditional (19th century) and the modern (20th century). He attempted to fuse the Gothic and the roman typefaces.

Even before 1932, Renner made his opposition to the Nazis very clear, notably in his book “Kultur-bolschewismus?” (Cultural Bolshevism?). He was unable to find a German publisher, so it was published by his Swiss friend Eugen Rentsch. After the Nazis seized power in March 1933, Paul was arrested and dismissed from his post in Munich in 1933, and subsequently went into a period of internal exile. Soon after the book’s publication, it was withdrawn from the German book market, until a photo-mechanical reprint was issued by Stroemfeld Verlag, Frankfurt am Main/Basel, in 2003. The new edition included comments by Roland Reuss and Peter Staengle (a main source for these notes).

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Stanley Morison

Stanley Morison was born in Britain at Wanstead, Essex, but spent most of his childhood and early adult years (1896–1912) in London at the family home in Fairfax Road, Harringay. He was self-taught, having left school after his father abandoned his family. In 1913 Morison became an editorial assistant on The Imprint magazine. During the First World War he was a conscientious objector, and was interned. In 1918 he became design supervisor at the Pelican Press. This was followed by a similar position at the Cloister Press. In 1922 he was a founder-member of the Fleuron Society, dedicated to typographic matters (a fleuron being a typographic flower or ornament). He edited the society’s journal, The Fleuron, from 1925 to 1930. The quality of the publication’s artwork and printing was considered exceptional. From 1923 to 1925 he was also a staff editor/writer for the Penrose Annual, a graphic arts journal.

Morison was also typographical consultant to The Times newspaper from 1929 to 1960; and in 1931, having publicly criticised the paper for the poor quality of its printing, he was commissioned by the newspaper to produce a new, easy-to-read typeface for the publication. Times New Roman, the typeface which Morison developed with graphic artist Victor Lardent, was first used by the newspaper in 1932 and was issued commercially by Monotype in 1933. Morison edited the History of the Times from 1935 to 1952, and was editor of The Times Literary Supplement between 1945 and 1948.

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BIBLIOGRAPHY

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Bibliography 1. Some layout design books (For choosing the color palette) 2. Knowledge from A t0 Z letters For form study topic: The data are taken from the behance.net Hereâ&#x20AC;&#x2122;s the link [https://www.behance.net/gallery/Informa tion-Graphic-Knowledge-From-A-to-Z/8358945] 3. About Each fonts study For form study topic: The data are taken from wikipedia as well as some other sources i.e. different websites and internet pages. * Reason for making letter form palette of alphabets in capital forms, small and some special characters for each 26 different fonts is because of the form study includes having understanding of each alphabets of a particular fonts. 4. Use of Google Search Engine 5. Use of Behance.Net 6. Use of Youtube.com -Plays a vital role. 7. Use of various kinds of Softwares for making this book : Adobe InDesign Adobe Photoshop Adobe Illustrator Adobe Reader Corel Draw, etc. 8. Major fonts used for the layouts : Century Gothic, MoolBoran and Baskerville Old Face.

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Notes ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ...................................................................................................................... ...................................................................................................................... ...................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ...................................................................................................................... ...................................................................................................................... ...................................................................................................................... ......................................................................................................................

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Notes ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ....................................................................................................................... ...................................................................................................................... ...................................................................................................................... ...................................................................................................................... ....................................................................................................................... ...................................................................................................................... ...................................................................................................................... ...................................................................................................................... ...................................................................................................................... ....................................................................................................................... .......................................................................................................................

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Symbiosis Institute of Design Viman Nagar Campus, Pune - 411 014

Symbiosis International University

(Established under section 3 of the UGC Act 1956 vide notification No. F9-12/2001-U 3 of the Government of India) Accredited by NAAC with “A” Grade