Introduction
It is something so prevalent that often, it seems invisible. Its purpose is not to solely convey information, but to mimic spoken language. It’s composed of lines, curves, and white space. Karen Cheng refers it as “the visual representation of language.” (Cheng, 2005) That something is type.
Contents
Introduction Type Classification ...... 6
Type Design Getting Started ...... 10 Rough Sketch ...... 11 Em Square ...... 12 Digital EM Square ...... 14 Creating the Letters ...... 16 Vector Letters ...... 18 Vector Process ...... 22
Font Generation Building the Font ...... 24 Copy + Paste ...... 26 Side bearings ...... 28 Checking Consistancy ...... 34 The Kern Process ...... 36 Testing the Kerning ...... 40 OpenType Features ...... 41 Final Font Generation ...... 44
Appendix Terminology ...... 48 Additional Resources ...... 50 Bibligoraphy ...... 52 Type Classification
When starting the design process, an important Blackletter first step is to review the history of type design Also known as Gothic or Calligraphic, the and the evaluation of the art. The de facto blackletter category of typefaces can be traced standard in type classification at this time is the back to the 12th century and the writing of Vox system. Created in 1954 by Maximilien Vox, monks and scribes. With features that can be this system went on to be later approved by the traced back to the country of origin, many of International Typography Association and has these typefaces have a vastly different array of been in use ever since. (Joseph Alessio , 2013) attributes. Although different in their own right, Although the Vox-Atypl system allows typefaces typefaces in this category share a common to be loosely categorized, it is not perfect. Since historical link due to the fact that they were all 1954 there has been new additions and historical modeled as if drawn with a broad tip pen. Some discoveries that have revealed inconsistencies popular examples are Fraktur and Old English. in the classification system — display typefaces, decorative and the calligraphic faces are often miscategorized or not represented in Blackletter the system. Although it is important to have a knowledge of the origin of typefaces, this Humanistic is not a in-depth study on the subject. The Also called Venetian, the humanistic category following is a guide to assist in knowing what was created in the 15th century by Venetian features are prominent on typefaces as well printers (thus the other name) and sought to as some historical facts and example faces. imitate the formal script from manuscripts during the renaissance. Humanistic typefaces are characterized by a low x-height and a sloping cross-bar on the lowercase ‘e’. Featured examples of this era are Jensen and Centaur. Humanistic
6 Old-Style Modern Serif Moving slightly away from imitations of The first Modern serif typeface is attributed to formal calligraphy, Old-Style or Garalde Frenchman Firmin Didot in 1784; however, it was classifications, start to design actual characters. Giambattista Bodoni who created the archetype Old-style type was started around 15 century for the classic Didone — Modern and Didone and continued well into the 16th century. are interchangeable. Bodoni, who admired Characterized by less oblique stress and a Baskerville, took his typeface to the extreme. now horizontal ‘e’, Garalde faces look more With a high stroke contrast and a horizontal designed than drawn. It was also in this stress, modern typefaces tend to look high period that the first italic type was punched. class. (like Vogue Magazine) Usually unsuitable Even in present day, many of the popular for large bodies of text due to the extreme typefaces are still used such as Garamond, stroke contest causing loss of thin strokes in Caslon, Bembo, and Times New Roman. small point sizes, these modern typefaces mark the first step into display typography. Old-Style Examples in the modern serif category include Bodoni, Didot, and Berthold Walbaum.
Transitional Serifs Now into the 18th century, type design is no Old-Style longer trying to imitate formal hand, instead being meticulously designed for optimal form. The transitional category can be identified by a horizontal serif structure that indicates a complete break from the calligraphic tradition. Additionally during this era, a greater stroke contrast became more pre valiant due to an over all improvement in punch-cutters, printers, papers, and designers. It is during this era that classic typefaces such as: Baskerville, Cheltenham, and Bookman were produced. Transitional
7 Slab Serif and Fat Faces Contemporary Serif The Industrial Revolution was just getting off We now enter the modern era of serif collections to a start in the 19th century and advertisers and away from the Vox Classification. With needed something to grab people’s attention. the advent of the computer for research as Enter Slab Serifs (also called Egyptian) and well as digital typesetting and design, type Fat Faces. Created from mostly wood type, designers have pulled from history and these faces were not meant for any long lines created new adaptations on serifs. Although of text, they were meant to shout BUY BUY many contemporary serifs can have a wide BUY! Whether it was selling a new surefire array of features, a common theme in designs way to cure a headache or a sale at the local are wedge-shaped serifs. With sharp edges hardware store, these faces were everywhere. and moderate stroke contrast, contemporary Slab faces with their low stroke contrast and serifs are finding themselves not only in print thick rectangle serifs proved great as attention- copy but digital publishing as well. Examples grabbing headlines. Fat Faces had their place include Warnock, Alfon, and Farham. there as well, with huge stroke contrasts, triangular terminals and serifs, they made moderns look wimpy. Examples of Slab Serifs Contemporary include Clarendon, Memphis, Officina Serif, and ITC American Typewriter. Fat Faces include Thorowgood, Madrone, and Bodoni’s Ultra Black. Grotesque Named Grotesque from the Italian word grottesco. which means belongs in a cave. Slab Serif Considered rudimentary by some grotesks lacked serifs and had relatively little stroke Fat Faces contrast. First designed concurrently with the Slab-Serifs in the early 19th century, these typefaces too were created for easy reading at faraway distances. Examples include Headline, and Akzidenz-Grotesk. Grotesque
8 Humanistic Neo-Grotesque Humanisitic typefaces get their name from Neo-Grotesque typefaces emerged with the the calligraphic features present in their international typographic movement, better letters. Humanistic typaefaces didn’t originate known as the Swiss Style. The designers of organically; however, they were commissioned these typefaces were obsessed with minimalistic by the London Underground to provide clarity design and simplification. Thus, through this to their signage. Usually found with square form criteria, the Neo-Grotesque typefaces had little capital letters, and high stroke contrast on the to no stroke contrast and sought to unify the lowercase, popular examples of Humanistic overall look of letterforms. Examples of Neo- typefaces are Johnston and Gill Sans. Grotesques include, Univers and Helvetica. Humanistic Neo-Grotesque
Decorative Geometric Although not a part of the Vox Classification, During the Swiss movement, the Bauhaus’ Decorative typefaces, with their numbers artists and their quest for perfect form and growing everyday, form the de facto group simplicity lead them to design typefaces of script and display typefaces. Not useful that embodied those ideals. With letterforms for bodies of text or small point sizes, these based on almost perfect circles and squares typefaces are usually reserved for large and little stroke contrast, geometric typefaces headlines or stylistic embellishments. Decorative look modern if not futuristic. Examples typefaces include Rosewood and Jokerman. include: ITC Avant Garde and Futura. Script typefaces, which typically find use in formal invitations include typefaces such Geometric as: Edwardian Script and French Script. Display Script
9 Getting Started
Type is used everyday and practically and a font; a typeface refers to a creative work everywhere, even as I type this on the while a font is the delivery mechanism. An keyboard, I see letters appear on the screen. Analogy from Norbert Florendo at Typophile: Together, these letters form words, and words begin to form complete ideas. Although When you talk about how much you mainly seen as a method to convey these like a tune, you don’t say: “That’s ideas, type itself is a combination of pieces a great MP3”. You say: “That’s a of art that together, function as a whole. great song”. The MP3 is the delivery mechanism, not the creative work. A type designer has a daunting task. Create all lowercase and uppercase letterforms, This thesis will attempt to demonstrate step-by- punctuation, numerals, ligatures, glyphs, step, not only the creation of the typeface, but any additional OpenType features and have the font file as well, all while avoiding common them work beautifully together in millions mistakes and demonstrating standard practices. of possible combinations. This task can only be properly done with a fusion of mathematical precision and creative prowess.
Before diving into designing a typeface aspiring type designers must familiarize themselves with terminology, history, and standard practices of type design. A designer must be aware of the difference between a typeface
10 Rough Sketch
Materials & Starting Characters Once the designer decides what category Defining a typeface’s attributes and it’s stylistic the typeface will fall in and if it is for text properties is an important first step in type or display, a designer can start with some design. Is the design going to be a serif or rough sketches. It is with these sketches that sans-serif? Is it going to be for body copy or basic design takes place. Type characteristics display? What are the serifs, metrics, stroke such as terminal design, stroke variation, contrast, or form following? These are all and metrics are roughly thought out. The questions that eventually have to be answered. following set of letters are the standard There are many steps in creating a typeface starting letters to design first:n, o, a, H, O. and the following pages will demonstrate the steps in concise and understandable process. Even before the first step, gathering the tools necessary for type design is critical. The typical type designer’s tool kit is as follows: • Sketch Paper • Grid Vellum • Pencil • Eraser • Ruler • Scanner or Camera • Adobe Illustrator • Fontlab (Font Editing Software)
11 EM Square
Laying out the EM square When setting the baseline, think of an EM Once the designer has a rough idea of how square like a coordinate plane, the baseline the initial set of characters are going to look, being the y-axis. Overshoots are usually 2% it is time to set up the EM square. Setting over their respective guides and account up the EM square sets the metrics for the for the optical correction in rounded shapes typeface that you are creating. Laying out such as the a, c, e, o, C, G, O, and Q. Once the EM square sets the foundation for the the decsion has been made for the EM typeface’s metrics. The standard EM square square metrics, the best approach would be is 1000 UPM (squared). UPM for simplicity to layout the square in Adobe Illustrator. purposed can directly correlate to points. (1upm = 1 point). This is how the majority of typefaces are laid out (some early digital fonts by the Microsoft Foundry are set to 2048 due to memory usage) Using the rough sketches as a guide decide on the following variables: • Baseline (always set to 0) • Ascender (700-800) example [750] • Descender (-200-300) [-250] • Cap Height (600-700) [650] • X height (400-550) [500] • Overshoots (1-3% of x and cap height) [10] • UPM = Ascender + (-1 × descender) + overshoots= 1000
12 ascender cap-height x-height baselineTypography descender
Basic type metrics include the baseline, cap-height, x-height, ascender, and descender.
The EM square covers the entire space in which a letter can reside. Everything from the ascender to the descender stays within the square.
13 Digital EM Square
Laying out the EM square in Illustrator Once the vertical axis has been set, the Creating an EM square in Illustrator is an top of the EM square is now your ascender easy, but important first step. Before even overshoot and the bottom of the square is creating the document adjusting some default your descender overshoot. Add the rest of illustrator settings will help in the overall the lines (ascender, descender, baseline, design process. The default settings for x-height, cap-height, and all corresponding increments is too high for type design and overshoots) and be sure to ensure accuracy as need to be lowered. In the Preferences menu, this will impact the all the characters. Name under general, set the keyboard increments to the filecharacter template and save the file. 0.001 point. After that, create a new Illustrator document with the following settings: • Profile: print • Width: 1000p • Height: 1000p Once the 1000p x 1000p document is created, it is time to set the guides. In Illustrator, show the ruler (command + r) and notice that the origin point is top left. Set the vertical axis (the baseline) so that the ascender is at the top of the EM square. To do that, drag the corner of the two rulers to the proper location using the formula (1000-(ascender height+overshoot)
14 Download this EM square template: http://6picas.com/portfolio/curtis
15 Creating the Letters
Full Size Sketch Process Digitizing the Sketch Whether a full-size EM square or a scaled If a full sized EM square was used, the digitizing square has been used, preparing the characters can be done in a few ways. Ideally, scanning on vellum will help in the creation of the the characters in 1 to 1 would be the most individual characters. To ease and standardize efficient and precise method; however, large the process of creating 52 letters, numerals, format scanners can be few and far between. A punctuation, diacriticals, ligatures, stylistic camera may be used, although, it is important alternatives, and if feeling extra ambitious, to remain true to the distance at which the small capitals and their corresponding case- photograph was taken. Setting up a tripod sensitive glyphs, it is important to reuse may help to ensure consistent photographs. elements of the typeface. For example, if a serif typeface is being designed, use the serif Cleaning up the Digitization (optional) from the n for the h. It is through this sharing This step is optional if the scans (or of elements, a consistent typeface is forged. photographs) came in clean. If there are stray The sharing of elements becomes easier marks, dark scans, heavy grid marks, or anything with the use of vellum. Due to its translucent else that would impact tracing the character, properties, retracing common elements on a this step will rectify that. First, import the scan new character vellum is a preferred choice for characters into Photoshop. Clean up any stray the beginer type designer. The intermediate marks using the eraser tool and fill in any or advanced type designers may choose to missing areas using the clone or brush tool skip this step and design elements (or even Adjust the curve, brightness, and contrast complete characters) on the computer. to a level that enhances the pencil character and subdues the grid lines while brightening the white. If the color levels are off in all scans, this step can be recorded with actions in Photoshop so that a macro can be run on each file to save time.
16 Keeping consistency on metrics and elements is key during the drawing process.
17 Vector Letters
After the core starting characters have been Following the NSEW point placement trace the drawn, scanned, and cleaned-up the next step outside of the letter and complete the exterior is to trace them in Illustrator. Start Illustrator letter. Once you have completed the path, and open the EM square file created earlier. depending on the letter you are beginning Add 2 new layers and title them letter scan with, it is time to start the interior part of the and trace. File » Place the letter scan in the letter. In the following pages, the A has to have letter scan layer. Depending on the size of the interior triangle traced. In the same layer, your paper EM square, re-sizing might be re-select the pen tool and trace the interior of needed in order to align the metrics. Don’t the letter. At this time if the stroke and fill is worry if your paper EM square metrics are reversed, it should look like a filled in letterA . slightly off, as long as they are all consistently off, adjustments can be made digitally. Notice To rectify this filled in letter, we must on the letter A example, the x-height does not convert the separate paths into a compound line up to the digital x-height. This is okay path. Select both paths, right click, and since this is a capital letter and we are trying select make compound path (pg. 21). After to align the baseline and the cap-height. your letter should no longer be filled in and be a complete compound shape. Next, select the pen tool and start at a point in which the direction of the stroke changes. For Next, reverse the stroke and fill so example at the top of the serif or at the top of that only the stroke has a color. At this the letter. Ensure that no extra points are made point, this is when you can start making by keeping points only at changes of direction fine adjustments to the character. while maintaining the points consistently at north, south, east, and west poles of the letter. Depending on the size of your sketch and monitor, select a black stroke and set it between .25 and 1pt. Doing this will maintain trace accuracy and fine adjustments later.
18 Initial rough trace. I adjusted these serifs in digital after drawing the letters.
19 Using prebuilt elements, the serifs, it insures consistency throughout the typeface.
20 Creating a compound path will fix letters that look filled-in. Using the Path Finder tool can also be of help while making compound shapes.
21 Vector Process
Building an Element Library style typeface, letters can be divided up into Many alphabetic characters share common 2 groups (with some exceptions: square and elements between each other. Building a half square letter forms. Square letter forms library of these common elements will not include: A, C, D, G, H, K, N, O, Q, T, V, X, Y, and only save time, but will also help with the Z. While half square include: B, E, F, L, P, R, overall consistency of the typeface. Common and S. Some exceptions are I, J (narrow letter elements, such as the tittle (on the i, j, and ?), forms) U, and W (latter additions to the Roman period, and colon or a the stem (the vertical Alphabet and thus follow no classic model). stroke) on the L, T, H, F, E, R, I, P, K, and B. After designing the core set of characters, create If designing masculine (uppercase) letters in a few Illustrator documents harboring these a non old-style or modern style, it is standard elements and name them appropriately. practice to divide the capitals in to 5 different categories: round, round-square, square, Assembling the Characters diagonal, diagonal-square. Round forms Most type designers start building a typeface capitals include, O, Q, C, G, and S. Round-square with the same core set of characters. These include: B, P, R, D J, and U. Square include: E, letters become the building blocks for many F, L, H, I, and T. Diagonal include: V, A, W, and other letters. The common element between X. Lastly, Diagonal-square forms include: M, the letter H and the letters I, T, F, E, excreta N, K, Z, and Y. Using this 5 category system a is the stem and can be reused across the type designer starts off with a base letter from typeface. This is why most type designers each group. Mainly chosen are the H, O, P, and start out with designing a typeface with the N (sometimes the K is also designed as it’s lowercase letters a, e, g, n, o. Capital letter diagonal stroke effects how the R is crafted). forms take a slightly different approach. (Cheng, 2005)
Because capital letters are historically older In summary, it is common to begin the than their minuscule counterparts, capital typeface design with the following letters: letters can be divided up into different design Lowercase: a,e, g, n, o groups. When designing a old style or modern Uppercase: H, O, P, N (sometimes K)
22 In addition to creating an element library, create 6 different size circles (3 for uppercase/3 for lower) in order to maintain consistancy. One the diameter to the maximum stroke, one for maximum bowl, and one for the minimum stroke width. 23 Building the Font
Once you have all your characters created, it’s Although there are many more menu items time to bring them into a font program to build and options to define, they are beyond the the font file. For simplicity sake and because it is scope of this beginning process. Remember the de facto industry standard, the instructions that Fontlab is a powerful font editor that will be for working in Fontlab 5.1 (Alternatively is used to create professional typefaces you can use Glyphs, FontForge, Robofont, etc) that are finely tuned for specific purposes (i.e print, screen, small, and large sizes) Defining the Font Info Recall the metrics that you created on the EM Square page. These will be used as the metrics within the Fontlab file. Assuming Fontlab is open, go to file » new and you will be greeted with a empty grayed-out font file listing all the wonderful glyphs that are considered standard in a single weight font. Before diving into adding your letters, the font info must be set.
The little box icon on the top left of the font file will open the font info or alternatively, file » font info. Once the font info window is open, proceed to name your font, copyright info, and give it a version number. More importantly; however, expand the Metrics and Dimension menu and click on Key Dimensions. This is where you will input all your metrics that you defined at the start of the design process.
24 In addition to the name and copyright infortmation, be sure to expand Metrics and Dimensions and fill in the font metrics defined earlier.
25 Copy + Paste
The first step in converting vectorized letters into a functioning font is copying the character from illustrator then pasting it into the appropriate glyph location. Although this is usually a quick and easy step, there are a few common issues that may arise during this process. Because Illustrator and Fontlab handle points and paths differently, sometimes the compound paths that were created in Illustrator break when pasted into Fontlab. These issues can usually be resolved by selecting all the points (cmd + a) and from the Contour menu, click correct points or close open contours (depending on what issue the character has). Once all the characters have been pasted in, design work is completely done with Illustrator and work will be done exclusively in Fontlab going forward.
26 Because of differences in node handling, Fontlab can reverse, blackout, or contain open contours. Selecting all points and letting Fontlab automatically correct these inconsistancies is quick and easy. 27 Side Bearings
Once all the characters have been added, it’s To begin adjusting the side bearings, click into time to set the side bearings. The process the yellow window on one of the characters. of setting the side bearings is a slow, and Two vertical dotted lines with numbers on the tedious process; howbeit, an important bottom will appear around the letter. For the step. Having consistent side bearings will these beginning characters, the right and left ensure your font looks good on software that side bearings will be the same for the individual does not use open type features (kerning) characters. Other letters; however, usually do and will save time and the number of not share similar left and right side bearings. kerning pairs that need to be created. A general tip to follow is viewing the letter Normally, this process is started with the combination in the point size the type H, O ,n ,o letters. These letters are usually will typically be used in. If the typeface done first for two reasons; they usually have is meant to be used for body copy, view equal side bearings on the right and left it at smaller sizes so that an accurate side and they share many characterisitics representation of the spacing is achieved. with other letters in the typeface. Once the started combinations are set, To stat the process, in Fontlab, select the the remaining characters can be adjusted. menu item Window —> New Metrics Window. Using common shape groupings of the The majority of the work from here on out letters (o, e, c, g / H, I, E, F ) adjust the will take place in this window. In the metrics side bearings such that similar shaped window, be sure to have the metric mode characters share similar side bearings. enabled and then, in the text box, type out the HOHOH and the nonon letter combinations.
28 Ensure Metrics Mode is selected when you open a new metrics window
29 Side bearings can be viewed by clicking on the letter in the yellow section in the metrics window.
30 The left number is the left side bearing (Left SB) and the right top number is the right side bearing (Right SB). The bottom right number is the total width of the letter.
31 Ensuring left side bearing consistancy between letterforms though the whole font view.
32 Ensuring right side bearing consistancy between letterforms though the whole font view.
33 Checking Consistency
Fontlab makes it easy to check the consistency Generating the Font of the side bearings through the whole font In order to see how the typeface looks outside view. Simply click on the drop down menu of Fontlab, it must be converted into a font (defaulted Unicode) and select Right SB or Left file. To generate the font file, click onFile » SB. This will then change all the numbers in Generate Font. Name the font file, then save it the yellow rectangles above the letters to either as an .otf (OpenType PS). Install the font file their right or left side bearing numbers. After all and load up a word processor and test it out! the letters have had their side bearings set, and consistency has been maintained though out the letter shapes, it is a good time to test the font.
34 The left number is the left side bearing (L SB) and the right top number is the right side bearing (R SB). The bottom right number is the total width of the letter.
35 The Kern Process
Once you have your font installed and have Begin going through the list of kerning pairs tried it out in a word processor, the next step following how the side bearings were set is to document all the awkward letter spacing. keeping in mind that consistency is key when Leslie Cabarga put together a exhaustive list kerning letters that share similar shapes. For of kerning pairs used in the english language, example, kerning pairs such as fo and fe should in her book Logo, Font & Lettering Bible and have the same kerning amount. Remember she posted them online for type designers to to view the kerning pairs at the smaller sizes use! Go to logofontandlettering.com/kernking. during this process and to kern ligature pairs html and copy the Kern King lower and slightly as well when the font is used in word uppercase kerning pair list. (Cabarga, 2004) processors that do not support kerning.
Once you have copied those lists, paste them into your word processor. Change the list into the font you created and print it out. Go through that entire list and document the letter pairs that you will need to adjust the spacing between. If care was taken in creating consistent side bearings, the kerning task will be easier.
After the kerning pair list has been documented, open Fontlab and open a new metrics window (Window » New Metrics Window). In the metrics window, click the kerning button (under the metrics button) and open the kerning table.
36 In the new metrics window, click te A|v button to activate kerning mode
37 Opening the kerning table will display all the kerning pairs and their vaules in a table to the right.
38 Clicking on a letter will bring up the kern adjustment. Try to maintain consistancy within similar letterform kerning paris (i.e Fe, Fo)
39 Testing the Kerning
As with side bearings, testing how the font looks once printed is important. Generate the font file again and if a dialog appears asking if kerning tables should be complied or binary, select complied. It’s important to uninstall the previous version of the font before reinstalling the latest version. This will prevent any mixups and font conflicts.
If your word processor supports kerning (Microsoft word does not by default, however you can enable it. Pages and Indesign supports kerning and it is on by default) load the Kern King file up again and select your font. Print out the kerning pairs and go though the document again, documenting any adjustments that need to be made.
This step will be repeated to achieve consistent letter spacing across the document. Refer back to the kerning table (located inside the metrics window) to keep consistent kerning pairs across similar letter shapes.
40 OpenType Features
Although kerning is automatically coded into To do this, click on the + button at the bottom your font file, other OpenType features such as of the OpenType window. This will make a ligatures (normal, discretionary, and stylistic), class called xxxx (see next page). Adding lining and lowercase numerals, and small caps a ligature class is basically telling the word have to be coded into the font file. If the typeface processor what to letters substitute for. Page created has ligatures (fl, fi, etc), in Fontlab, under 43 displays the code for fland fi ligatures. the Windows menu, click on Panels » OpenType. If your font contains other OpenType This will bring up the OpenType coding features, you will continue to add classes in the font. If kerning was completed you and code the substitutions that are needed. should see every kerning pair in the right- For more information on OpenType hand window and on the left sidebar the coding, see the Additional Resources word kern (these are called classes). This Section for online and print resources. automatically generated block of code tells the word processor how to adjust the spacing between your kerning pairs. The first class added (after kern) is usually for the ligatures.
41 Creating a new class will default the class name to xxxx and add the standard code layout.
42 The code for replacing f i with fi and f l with fl. Following the same formula, it is possible to create as many substitutions as necessary.
43 Final Font Generation
After you are done adding classes, generate Final Thoughts the font file again and be sure to compile the Creating a font for the first time is both a openType features if prompted. Congratulations, rewarding and humbling experience. As a type with this step, the final font file has been created. designer, you see past the pure ascetics and see a Continue to build upon the glyph set and add typeface as both technical and artistic. The letter additional weights expanding the font and it’s spacing, x-height, angles, contrast, everything usability. The typeface created as an example is must work together for the typeface to be both titled Curtis and is displayed on pages 46 and 47. functional and pleasing to the eye. Achieving It, along with this the digital edition of this guide this level of synchronicity take practice is availible for download at http://6picas.com. and research. A type designer’s knowledge is never complete and there will always be new typographic challenges to overcome.
“Type design is one of the most visible and widespread forms of graphic expression in daily life. It is still not noticed by all readers of newspapers, magazines or books. Nevertheless letter forms reflect the style of a period, and its cultural background. We are surrounded by them everywhere.” — Hermann Zapf
44 Compiling the OpenType features will include all previous changes and all current changes made to kerning and any OpenType classes.
45 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
Curtis upperase.
46 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 fi fl ; ! ?
Curtis upperase.
47 Terminology
Aperture: the partially enclosed, somewhat Counters: a partially or fully rounded negative space in some characters enclosed space in a letter.
Apex: a point at the top of a character Cross bar: the horizontal stroke in letters. where two strokes meet Descender: the portion of a letter that extends below the baseline Arm: the horizontal stroke on some characters that does not connect to a Descender: The portion of a letter stroke or stem at one or both ends that extends below the baseline.
Ascender: the portion of a letter that extends Ear: typically found on the lower case above the cap height g, an ear is a decorative flourish usually on the upper right side of the bowl. Baseline: the invisible line where all characters sit Em: a relative unit of measurement correlating to the specified point size Bowl: the curved part of the character that encloses the circular or curved parts (counter) of En: Half the size of an Em (i.e. if the point some letters such as d, b, o, D, and B is the bowl. size was 10 pt an en would be 5 pt.)
Bracket: a curved or wedge-like connection Eye: much like a counter, the eye between the stem and serif of some fonts. refers specifically to the enclosed Not all serifs are bracketed serifs. space in a lowercase ‘e’.
Cap-height: the height of the Glyph: a particular image that represents capital x in a given typeface. a character or part of a character.
Character: a symbol in writing and/or Hook/Arch: the curved stoke in a a letter, punctuation mark or figure. terminal usually associated with the f.
48 Leading: the distance between the Readability: how easily the eye can baselines of successive lines of type process bodies of copy as a whole.
Leg: short, descending portion of a letter. Serif: the little extra stroke found at the end of main vertical and horizontal Legibility: the measure of how easy or difficult strokes of some letterforms. it is to distinguish one letter from another. Spine: the main curved stroke of Ligature: two or more letters are joined a lowercase or capital S. together to form one glyph or character. Spur: A small projection off a main stroke. Lining numerals: also called Tabular Numerals, these numerals have equal width and height. Stem: vertical, full-length stroke in upright characters Link: a stroke that connects the top and bottom bowls of lowercase double-story g. Stroke Contrast: The differential in thickness from end to end of the stroke. Loop: the enclosed or partially enclosed counter below the baseline of a double-story g. Stroke: The main diagonal portion of a letterform such as in N, M, or Y is the stroke. Old-syle numerals: numbers with varying The stroke is secondary to the main stem(s). heights, some aligning to the baseline and some descending past the baseline Tail: the descending, often decorative stroke on the letter Q or the descending, often Overshoot: the degree to which capital curved diagonal stroke on K or R is the tail. letters go below the baseline or above the cap height, or to which a lowercase letter goes Terminal: the finishing element to a below the baseline or above the x-height. stroke that does not contain a serif.
Pica (pronounced pie-ka): a unit of measurement Tittle: A small distinguishing mark, corresponding to 1/6 of an inch or 12 pt. such as an diacritic on a lowercase i or j. Also known as a dot. Points: the smallest unit of measurement in typography (12 points to a pica x-height: the height of the lowercase or 72 points to an inch). x in a given typeface
49 Additional Resources
Websites http://www.typographydeconstructed.com Simple, straight to the point quick http://typophile.com reference guide, breaking down A great resource to ask questions, research letters into their simplest forms. specific aspects of design, and get feedback Organizations, Conferences, http://ilovetypography.com and Continued Education A wonderful blog about fonts, type design, and typography. http://www.atypi.org Association Typographique Internationale http://6picas.com - The worldwide organization dedicated to This book is available as a free e-book everything type and open communication. and there are many more resources on the typography blog, What’s the Point? https://tdc.org Type Directors Club. The Foremost resource https://www.typotheque.com on anything type in North America. Become Foundry that posts useful tutorials, a member and gain access to webinars articles, and writes about their process. from world famous type designers. http://typographica.org http://www.typecon.com Insightful type reviews, typography book TypeCon - An international type recommendations, and a interesting blog conference complete with workshops, webinars and famous speakers. http://luc.devroye.org/fonts.html A rather poor site layout; however, http://www.typesociety.org full of useful and hard to find The Society of Typographic Aficionados - information on the history of type. Another great international typography organization. They also run FontAid and TypeCon.
50 http://coopertype.org Books Type @ Cooper - This is the United State’s first recognized type design certificate. Typography Referenced : A Comprehensive There two courses are possible though Visual Guide to the Language, History, collaboration with TDC and Cooper Union. and Practice of Typography Allan Haley 2012 http://craftingtype.com Offers a great historical timeline, examples, Crafting Type - A 3-4 day type and detailed information on poplar typefaces. design workshop that takes place in different cities across the world The Anatomy of Type: A Graphic and is usually pretty affordable. Guide to 100 Typefaces Stephen Coles 2012 Font Software Details many distinguishing features and detailed information of 100 common http://www.fontlab.com typefaces. Also offers a modernized Fontlab - Useful information when you version of type classification. run into quirks in the software. Designing Type http://fontforge.org Karen Cheng 2005 Font Forge - An open source font editor With an analysis of each character, lower and that has excellent documentation uppercase, Cheng documents the type design standards and warns of common pitfalls. http://www.glyphsapp.com Glyphs - A Mac only font editor, this is Logo, Font & Lettering Bible a new comer to the font editing scene. Leslie Cabarga Fresh interface, and useful tutorials on An eclectic mix of logo, font, and lettering their site, they also offer a free trial. creation, this book serves as both inspiration and informative during the type design process. http://doc.robofont.com RoboFont - A UFO (Unified Font Object) - Just my Type This editor handles the new type format .ufo Garfield, Simon More of a leisurely read, Just my type is a journey though the creation and stories behind famous typefaces.
51 Bibliography
Print Digital Bringhurst, Robert. The Elements of “Typographer’s Glossary.” Playtype. Web. Typographic Style. Point Roberts, WA: 18 June 2014.
Cheng, Karen. Designing Type. New “Tutorials.” Blog and Tutorials RSS. Web. 18 June Haven, CT: Yale UP, 2005. Print. 2014.
Coles, Stephen. The Anatomy of Type: “FontLab Studio Tutorials.” Fontlab A Graphic Guide to 100 Typefaces. New Typographic Tools. Web. 18 June 2014. York: Harper Design, 2012. Print.
Cabarga, Leslie. Logo, Font & Lettering Bible. Cincinnati, OH: How Design, 2004. Print.
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